Professor Richard Widdess
MUSB MA PhD(Cantab) MA(London)
Professor of Musicology
Academic Staff, SOAS South Asia Institute
- Professor Richard Widdess
- Email address:
- 020 7898 4685
- 020 7898 4699
- SOAS, University of London
Thornhaugh Street, Russell Square, London WC1H 0XG
- Russell Square: College Buildings
- Office No:
- Office Hours:
- Wednesdays 3.30-5pm
BiographyMy interests in both teaching and research focus on Music as a universal human activity, a non-verbal expressive system communicated primarily through sound. I am interested in understanding how different musical systems work in the contexts in which they are performed, or were performed in the past, and in developing tools for analysing their structure and meaning. In regional terms my interests focus on South Asia, particularly classical and religious music traditions of northern India and Nepal (see Research). In non-regional courses I teach aspects of transcription and analysis, historical ethnomusicology, organology, cognition and meaning in music etc.
- Analysing World Music: Transcription & Analysis in Ethnomusicology
- Indian Classical Music
- Indian Classical Music
- Introduction to Music Analysis
- Music and Religion in South Asia
- Music in South Asian Culture (Masters)
- Music in the Cultures of South Asia
- Raga: concept and practice
- Raga: concept and practice (Postgraduate)
In the field of South Asian music my research began by examining the remote past, specifically the earliest documentary evidence for the art and theory of melody in India, and for the origins and development of rāga, the most important and distinctive contribution of Indian culture to music. This project resulted in my book The rāgas of early Indian music: modes, melodies and musical notations (Oxford 1995). A second project was to study the dhrupad genre of North Indian vocal art-music. Collaboration with Prof. Ritwik Sanyal of Banaras Hindu University, himself a leading exponent of the genre, resulted in a joint book, Dhrupad: tradition and performance in Indian music (2004), examining the characteristics of the genre, its history, ideology, revival, performers, performance and structure .
A third area of interest since 1988 has been the music of the Newar community in the Kathmandu Valley, Nepal, which I have been able to observe with the collaboration of Prof. Gert-Matthias Wegner, Dr Carol Tingey and local musicians. Articles have been published on Buddhist ritual song, 17th-century rāgamālā paintings, and the Ghẽtā̃giśi stick-dance, and I am currently working on a study of the dāphā tradition of sacred singing. In this project I address issues including the meanings of music in its social and ritual context, the importation of historical traditions from India and their adaptation to local needs, the preservation and/or revival of historic music traditions, etc.
Cutting across these areas of research is a preoccupation with the analysis of performance, either with or without the involvement of the performer in the analysis. I have published or completed analyses of performances by the singer Ritwik Sanyal, the sarodist Wajahat Khan and the sitarist Budhaditya Mukherjee. I am interested in the application of ideas from music cognition and orality to the analysis of musical performance.
Recent PhD theses completed under my supervision include those of Anna Morcom (Hindi film songs and the cinema), Nicolas Magriel (sarangi style in North Indian art music), Katherine Brown (Hindustani music in the time of Aurangzeb), Raiomond Mirza (musical structures in Zoroastrian prayer performance), Dean Morris (transmission and performance of khyal compositions), Nicoletta Demetriou (ideology and practice in Greek-Cypriot folk music), and David Kane (Music and Islamisation in Bengal). I directed the Leverhulme Trust project Musical Traditions of Northern India and Nepal, with Carol Tingey and Gert-Matthias Wegner (1990–94); and the AHRC-funded project The Khyāl Song Repertoire of North Indian Art Music, with L. du Perron and N. Magriel (2002–06).
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- Special Study Programmes
- Short Term Consultancy
- South Asia
Widdess, Richard (2013) Dāphā: Sacred singing in a South Asian city. Music, performance and meaning in Bhaktapur, Nepal. Ashgate. (SOAS Musicology Series)
Widdess, Richard and Sanyal, R. (2004) Dhrupad. Tradition and Performance in Indian Music. Ashgate.
Widdess, Richard (1995) The Ragas of Early Indian Music. Clarendon Press (OUP).
Widdess, Richard (2013) 'Schemas and improvisation in Indian music.' In: Kempson, Ruth and Howes, Christine and Orwin, Martin, (eds.), Language, Music and Interaction. London: College Publications, pp. 197-209.
Widdess, Richard (2011) 'Dynamics of melodic discourse in Indian music: Budhaditya Mukherjee’s ālāp in rāg Pūriyā-Kalyān.' In: Tenzer, Michael and Roeder, John, (eds.), Analytical and cross-cultural studies in world music. New York: Oxford University Press, pp. 187-224.
Widdess, Richard (2010) 'Laurence Ernest Rowland Picken 1909-2007.' In: Johnston, Ron, (ed.), Proceedings of the British Academy, Biographical Memoirs of Fellows, IX. Oxford University Press, pp. 226-255.
Widdess, Richard and Wegner, Gert-Matthias (2005) 'Musical miniatures from Nepal: two Newar ragamalas.' In: Pal, Pratapaditya, (ed.), Nepal: Old Images, New Insights. Bombay: Marg Publications, pp. 81-91.
Widdess, Richard (2001) 'Kirtana [and] Thumri [and] Dhrupad [and] Tala [and] Raga [and] Sruti [and] Sangita [and] Rasa [and] Gharana [and] Gat [and] Alapa [and] Kriti [and] Khayal.' In: Sadie, S. and Tyrell, J., (eds.), The New Grove Dictionary of Music and Musicians. 2nd edition. Macmillan.
Widdess, Richard (2001) 'India, III: Theory and practice of classical music.' In: Sadie, S. and Tyrell, J., (eds.), The New Grove Dictionary of Music and Musicians. 2nd edition. Macmillan, pp. 170-210.
Widdess, Richard and Wegner, G-M (2001) 'Nepal, Kingdom of, I. Music in the Kathmandu Valley.' In: Sadie, S. and Tyrell, J., (eds.), The New Grove Dictionary of Music and Musicians. 2nd edition. Macmillan, pp. 757-760.
Widdess, Richard and Duran, L. (2001) 'Picken, Laurence.' In: Sadie, S. and Tyrell, J., (eds.), The New Grove Dictionary of Music and Musicians. 2nd edition. Macmillan, pp. 718-719.
Widdess, Richard and Ruckert, G. (2000) 'Hindustani raga.' In: Arnold, A., (ed.), The Garland Encyclopedia of World Music. Vol. 5: South Asia, the Indian subcontinent. Garland Publishing Inc., pp. 64-88.
Widdess, Richard (2012) 'Music, meaning and culture.' Empirical Musicology Review, 7 (1–2).
Widdess, Richard (2011) 'Implicit Rāga Knowledge in the Kathmandu Valley.' Analytical Approaches to World Music, 1 (1).
Widdess, Richard (2011) 'Dāphā: dancing gods, virtual pilgrimage and sacred singing in Bhaktapur, Nepal.' Musike, 5/6 . pp. 55-79.
Widdess, Richard (2006) 'Musical Structure, Performance and Meaning: the Case of a Stick-Dance from Nepal.' Ethnomusicology Forum, 15 (2). pp. 179-213.
Nooshin, L. and Widdess, Richard (2006) 'Improvisation in Iranian and Indian music.' Journal of the Indian Musicological Society, 36–37 . pp. 104-119.
Widdess, Richard and Wegner, Gert-Matthias (2004) 'Musical Miniatures from Nepal: Two Newar Ragamalas.' Marg. A Magazine of the Arts, 56 (2). pp. 28-39.
Widdess, Richard (2004) 'Caryā and Cacā: Change and Continuity in Newar Buddhist Ritual Song.' Asian Music, 35 (2). pp. 7-41.
Widdess, Richard (2003) 'Time, space and music in the Kathmandu Valley.' International Institute for Asian Studies Newsletter . p. 32.
Widdess, Richard (1994) 'Involving the performer in transcription and analysis.' Ethnomusicology, 38 (1). pp. 59-80.
Basra, Khalid and Widdess, Richard (1989) 'Dhrupad in Pakistan: the Talwandi gharana.' Dhrupad Annual, 4 . pp. 1-10.
Widdess, Richard (2006) 'Rāga.' London: Centre of South Asian Studies, SOAS.
Khan, Wajahat and Widdess, Richard (2006) 'Wajahat Khan plays Rageshri.' Navras Records.