The images that accompany this podcast may be found here: https://blogs.bl.uk/asian-and-african/2018/03/canonical-hindustani-music-treatises-of-aurangzeb-alamgirs-reign.html

would you know where the graves of khushhal khan,  lal khan,  bilas khan,  ras baras khan would be located? 

Sir John Conant recounts the beginning of his farming career in Rutland in 1949, including the importance of his wife Periwinkle. 
 
Interview with John Conant in 2019, An oral history of farming, land management and conservation in post-war Britain 
 
C1828/10, Track 1 [00:28:21-01:10:24] 
 
Copyright: The British Library Board 

https://www.bl.uk/projects/national-life-stories-oral-history-of-farming

Sir John Conant Recounts The Beginning Of His Farming Career In Rutland

Originally written and recorded as 'Barrett's Privateers' by Stan Rogers

With permission from Fogarty's Cove Records (http://stanrogers.net/)

Performed live and adapted by British Library Writer-in-Residence Rob Sherman and Nick Henderson (http://twitter.com/NickJHenderson) at the British Library, 8th December 2015 

“In the mid-nineteenth century, arguably the brief 'Golden Age' of vernacular organology aboard British ships, Arkwright's Privateers was one of the most popular 'chanteys', or accompanied work-songs, amongst the general maritime population. Though it did encroach upon naval vessels, it was amongst merchant crews and private ventures that it displayed the greatest tenacity; these vessels were often crewed by Midlands men, whose bravery and Romantic fate this song handles. It is also a prime example of the esteem in which sailors from the county of Derbyshire were held, an almost-mythopoeic pedestal from which they have never descended, not even in the present day.

The tune was likely sung on deck to the simple beat of a drum, most often as a 'hand-over-hand chantey', used in the task of setting the jib and other repetitive hauling tasks. The key evidence of this designation is the call-and-response component of each verse's first line, followed by a repeated refrain which keeps a tight rhythm, allowing for methodic application to the task at hand.

Despite its regional appeal, and its reliance on knowledge of mid-English folklore regarding the 'Derbyshire Sailors' and their adventures, versions of it have been recorded by folklorists up and down both littorals of the Atlantic, even as far south as the Antilles.”

Dr. Mark Tollas, from his introduction to 'Hilo, Boys, Hilo: A New History Of The English Ululation'

Learn more about Rob's British Library residency, 'On My Wife's Back' at http://onmywifesback.tumblr.com/ 

Arkwright's Privateers

Where are the current trends in radio and online audio leading? What might radio sound (and look) like on its 2022 centenary? Some leading figures of UK radio come together for a discussion on radio today and tomorrow: Ruth Barnes chairs a panel featuring Matt Deegan (Folder Media/Next Radio conference), Helen Boaden (Director of BBC Radio), Femi Adeyemi (NTS Radio) and journalist/broadcaster Miranda Sawyer. Produced by Rosina Sound & Allanah Chance for the British Library, 16 September 2016.

The Future of Radio

The Copeland-Long restoration of the earliest known recording of computer music, recorded at Alan Turing's Computing Machine Laboratory in Manchester in 1951. Read Copeland and Long's fascinating blog account of the all-night programming session which led to its creation, and Turing's reaction on hearing it the following morning:  http://blogs.bl.uk/sound-and-vision/2016/09/restoring-the-first-recording-of-computer-music.html

First known recording of computer music, 1951

A short stereo excerpt of a longer 8 channel work. This is a sonic investigation into community and gentrification in the London neighbourhood of Walworth. It has traditionally been a working-class neighbourhood with more recent residents coming from all over the world. The area has been subject to several contentious ‘regeneration’ schemes that have already caused the loss of 1100 socially rented homes of the Heygate Estate.

Elephant Endangered Stereo 1

Cataloging

One of the last Black Country chainmakers, Lucy Woodall, sings the worksong ‘Chainmaker lad is a masher’ and talks about singing. 

Recorded by Roy Palmer in Old Hill, Dudley, West Midlands, England. There was much iron and coal production in this area of England since the 1600s and chainmaking, centered around towns south of Dudley, was a flourishing business, now defunct. Songs like these are documents of our history and heritage. 

The full-length recording from the Traditional music in England collection is on British Library sounds: 
http://sounds.bl.uk/World-and-traditional-music/Traditional-music-in-England/025M-C1023X0040XX-0100V0#

Chainmaker lad is a masher

Perhaps the most famous anecdote of the reign of the Mughal emperor Aurangzeb (r.1658–1707) concerns his “burial of music”, a parodic funeral procession put on by devastated court musicians in protest at the Emperor having banned music in 1668. In legend, the leader of this procession was Khushhal Khan “Gunasamudra”, the “Ocean of Virtue”. Khushhal Khan was one of the most feted court musicians of his time. Great-grand-son of the most famous Mughal musician of them all, Tansen, and chief musician to the emperor Shah Jahan (r. 1627–58), he was written about extensively in his lifetime as a virtuoso classical singer of exceptional merit and serious character. 

 Yet this was not how he was memorialised a hundred years later. Rather he was remembered as the unprincipled protagonist in a shocking scandal that supernaturally sealed Shah Jahan’s fate:— to be overthrown by his son Aurangzeb. In this talk I will retell the story of Khushhal Khan from the vantage point of the 1750s looking back over the canonical Mughal writings on music of Shah Jahan’s and Aurangzeb’s reigns. In doing so I wish to consider what they tell us about the role and power of music at the Mughal court at the empire’s height, before everything began to unravel.
Part of the series Histories of the Ephemeral: Writing about Music in Late Mughal India. 

Katherine Butler Schofield is Senior Lecturer in Music at King’s College London, and a historian of music and listening in the Mughal empire and the colonial Indian Ocean. Her first book, with Francesca Orsini, is Tellings and texts: music, literature, and performance in North India (Open Book, 2015); her second, Monsoon Feelings, with Margrit Pernau and Imke Rajamani, will be coming out with Niyogi Books in 2018.She is currently a British Academy Mid-Career Fellow. In 2018 as part of this project she will hold six public lectures and conversations at the British Library on “Histories of the Ephemeral: Writing on Music in Late Mughal India, 1757-1858,” covering the tumultuous century of change between the Battle of Plassey and the Indian Uprising.

The Maestro: Remembering Khushhal Khan “Gunasamudra” in 18th century Delhi

The British Library is the national library of the United Kingdom and one of the world's greatest libraries. We hold over 13 million books, 920,000 journal and newspaper titles, 57 million patents and 6 million sound recordings. Open to everyone, the Library offers events, temporary exhibitions and a Treasures Gallery that displays over 200 items, including Magna Carta, a Gutenberg Bible and lyrics by The Beatles.

The Maestro: Remembering Khushhal Khan “Gunasamudra” in 18th century Delhi

The British Library

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Histories of the Ephemeral

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