ABSTRACT

Throughout this book, I avoid the phrase ‘Garhwali music’. Such a term is based on the fictional premise that the region of Garhwal, by virtue of being a politically and geographically defined area and having a somewhat homogeneous language, must also maintain a homogeneous musical tradition. Any use of the term ‘Garhwali music’, however, is based on the assumption that it refers to some discrete social reality. It is true that there are musicians in Garhwal. There is musical practice in Garhwal. There are conventions of drumming and terminology shared by many residents of Garhwal. However, to suggest that the description of the musicians, musical practices and the terminology used in this study somehow constitute a Garhwali music tradition would obscure the truth. There are, in fact, many musical practices, a variety of kinds of musicians and a variance of terminology.