Abstract
The commentaries of Australian composer Peggy Glanville Hicks, who was a high profile figure in the vibrant post-World War II musical life of New York, are taken as the base to identify the manifestations of both Indian and Western musical practices, and discuss the extent of Glanville-Hicks' success in synthesising the two musical systems. There are possibilities of accommodating Indian music within a Western musical framework without infringing upon the intrinsic meaning. The cultural assumptions that underpinned Glanville-Hicks' appropriation of Indian music are analysed by placing her approach in the context of two hundred years of similar endeavours in Western music.
| Original language | English |
|---|---|
| Pages (from-to) | 51-70 |
| Journal | Context : journal of music research |
| Volume | 27/28 |
| Publication status | Published - 2004 |