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Frontmatter -- By the same author -- PREFACE -- CONTENTS -- FOREWORD -- I. Immigration -- II. Geographical Distribution -- III. Occupational Classification -- IV. Employment and Unionism -- V. Conditions of Work -- VI. Industrial Efficiency -- VII. Wages and Income -- VIII. Standard of Living -- IX. Social Life -- X. Traits and Achievements -- XI. Principal Problems -- Appendix -- Index

Towards the end of Paul Scott'sA Division of the Spoils, the final novel ofThe Raj Quartet, and in the television series as well, Indian people make an appearance and commit acts of unmotivated and horrible violence. The British heroine comments, "Such a damn, bloody, senseless mess … the mess therajhad never been able to sort out." Making sense, sorting out, was supposed to be the special vocation of British rule, yet here were all the seething, primordial conflicts rising to the surface again in the Hindu versus Muslim partition of India in 1947.

Comunicació presentada a la 17th International Society for Music Information Retrieval Conference (ISMIR 2016), celebrada els dies 7 a 11 d'agost de 2016 a Nova York, EUA. ; Indian art music is quintessentially an improvisatory music form in which the line between 'fixed' and 'free' is extremely subtle. In a raga performance, the melody is loosely constrained by the chosen composition but otherwise improvised in accordance with the raga grammar. One of the melodic aspects that is governed by this grammar is the manner in which a melody evolves in time in the course of a performance. In this work, we aim to discover such implicit patterns or regularities present in the temporal evolution of vocal melodies of Hindustani music. We start by applying existing tools and techniques used in music information retrieval to a collection of concerts recordings of alap performances by renowned khayal vocal artists. We use svara-based and svara duration-based melodic features to study and quantify the manifestation of concepts such as vadi, samvadi, nyas and graha svara in the vocal performances. We show that the discovered patterns corroborate the musicological findings that describe the "unfolding" of a raga in vocal performances of Hindustani music. The patterns discovered from the vocal melodies might help music students to learn improvisation and can complement the oral music pedagogy followed in this music tradition. ; This work received partial funding from the European Research Council under the European Union's Seventh Framework Programme (FP7/2007-2013)/ERC grant agreement 267583 (CompMusic). Part of the work was supported by Bharti Centre for Communication in IIT, Bombay.

AbstractThis article investigates some of the institutional and poetic practices around the idea of Hindustani in the period 1900–47. It charts the establishment of the Hindustani Academy in 1927 and explores some of its publishing activities as it attempted to make a positive institutional intervention in the Hindi–Urdu debate and cultural field more broadly. It then considers some aspects of poetic production in literary journals, including those associated with the Academy. Ultimately, it is an attempt to explore the grey areas that existed between Hindi/Hindu and Urdu/Muslim in the pre-Independence decades, and to make the case for studying the literature of both traditions simultaneously, along with emphasizing that attempts at compromise—including the perennially contested term 'Hindustani' itself—must be taken on their own terms.

This article provides insights into aspects of tempo and rhythmic elaboration in Hindustani music, based on a study of a large corpus of recorded performances. Typical tempo developments and stress patterns within a metrical cycle are computed, which we refer to as tempo and rhythm patterns, respectively. Rhythm patterns are obtained by aggregating spectral features over metrical cycles. They reflect percussion patterns that are frequent in the corpus and enable a discussion of the relation between such patterns and the underlying metrical framework, the tal. Tempo patterns, on the other hand, are computed using reference beat annotations. They document the dynamic development of tempo throughout a metrical cycle and reveal insights into the flexibility of time in Hindustani music for the first time using quantitative methods on a large set of performances. Focusing on aspects of tempo and rhythm, we demonstrate the value of a computational methodology for the analysis of large music corpora by revealing the range of tempi used in performances, intra-cycle tempo dynamics and percussion accents at different positions of the tal cycle. ; This work is partly funded by the European Research Council under the European Union's Seventh Framework Program, as part of the CompMusic project (ERC grant agreement 267583).

This article provides insights into aspects of tempo and rhythmic elaboration in Hindustani music, based on a study of a large corpus of recorded performances. Typical tempo developments and stress patterns within a metrical cycle are computed, which we refer to as tempo and rhythm patterns, respectively. Rhythm patterns are obtained by aggregating spectral features over metrical cycles. They reflect percussion patterns that are frequent in the corpus and enable a discussion of the relation between such patterns and the underlying metrical framework, the tal. Tempo patterns, on the other hand, are computed using reference beat annotations. They document the dynamic development of tempo throughout a metrical cycle and reveal insights into the flexibility of time in Hindustani music for the first time using quantitative methods on a large set of performances. Focusing on aspects of tempo and rhythm, we demonstrate the value of a computational methodology for the analysis of large music corpora by revealing the range of tempi used in performances, intra-cycle tempo dynamics and percussion accents at different positions of the tal cycle. This work is partly funded by the European Research Council under the European Union's Seventh Framework Program, as part of the CompMusic project (ERC grant agreement 267583).

AbstractStarting in the late 19 th century, workers from north India came to constitute the backbone of the urban and industrial labour force in Calcutta and neighboring mill municipalities. As they settled in and around the colonial metropolis, these Hindustani workers maintained strong connections with their rural homes. One generation after the other, they reproduced this dual settlement over the following decades. This bi-local structure of labour circulation, which linked village and city through the constant coming and going of men and women, progressively broke down from the late 20 th century onwards, following the closure of the large textile, engineering and paper industries which underpinned the economic vitality of the Calcutta region. The article sketches out the history of this socio-spatial configuration over the second half of the 20 th century, through the life histories of two migrant Hindustani workers. Born around 1940, Siraj Prajapati and Mohan Lal both spent the greater part of their working lives in Calcutta's industrial suburbs. Siraj, a potter by caste, was engaged in the artisanal production tea-cups in Howrah. Born into one of the most marginalized sections of north Indian society, Mohan managed to train as a mason, and was employed in the Titagarh Paper Mill through the 1960s and 70s. Both have now settled back in their respective villages of eastern Uttar Pradesh. Teasing out the contradictory ways in which both men frame their life trajectories, the article contributes a micro-perspective to the social history of rural-urban migration in post-colonial north India.

The sources available on Hindustani women and girls in Suriname were rarely produced by the women and girls themselves, but for or by British or Dutch colonial officers, European travel writers, Christian missionaries, and in some cases, by Hindustani men. In these sources, women and girls primarily figure in stereotypical roles as 'prostitutes', 'unfaithful wives', or 'female slaves'. This article sheds light on the ways in which Hindustani women and girls positioned themselves in relation to these stereotyped identities. Records produced by the Dutch colonial government are read both along and against the grain in order to identify contradictions, interruptions, and meaningful silences. The risk of reproducing stereotypes is thus reduced and alternative interpretations of women's acts and views are highlighted. It is argued that the historiography on Hindustani women in Suriname, as well as the wider historiography on Indo-Caribbean women, can and should use this methodology to move away from a focus on the 'reality' of these stereotypes towards an analysis of the active involvement of Hindustani women in the construction of family and community. It is shown how forms of coexistence between men and women, concepts of family, and financial responsibility were shaped by the norms of marriage, monogamy, and the nuclear family that were imposed, but also adapted and used by women to achieve their personal ends.