The question I am addressing is the perception of music and musicians in the Hindi cinema, or, more precisely, in the Hindi cinema's representation of music. In order to investigate this perception, I have chosen a certain type of film: the musicals. The musicals are popular cinema in the Hindi language-they are not only large-scale productions, but they were and are very popular. This study is essentially about popular cinema, and popular cinema's relationship to music. I emphasize in the introduction that the study of popular cinema, in the sense of the Hindi cinema, is at least partially a study of modernity and modernity's relation to classical music. The Hindi cinema, as well as its two most prominent genres, the musical and the melodrama, contain a good deal of music and music-related content, including popular music. Indeed, I will show that the Hindi film and its melodramas have become subservient to popular music as it has made its way into every aspect of social life in India, including the cinema. This is not to say that the Hindi cinema has always been popular. The majority of Indian cinema before the 1930s was the popular variety, with musical numbers being an integral part of the entertainment. This was no doubt a response to the increasing influence of radio and newsreels on the popular understanding of the world of cinema. However, by 1930, the dominance of radio, and later of television, had begun to eclipse all forms of popular cinema, not only that of Bombay, but the cinema of the rest of India. The Hindi film re-emerged from this crisis somewhat different, and more commercially successful, than earlier films. But in the post-1930s, it was the spreading influence of popular music on both popular and elite culture in India that allowed the Hindi film to achieve commercial success. The increasing influence of both popular music and popular cinema, then, is one of the primary sources of the study of Hindi cinema, and of the discourses that inform Hindi cinema, including popular music. In this way, the study of Hindi cinema has, at least in part, become the study of modernity and modernity's relation to classical music. In particular, I will examine four forms of Hindustani classical music-two vocal-and-instrumental forms, kathak and tarana, and two forms of instrumental Hindustani classical music-sarangi and harmonium. These four forms have dominated Hindustani classical music in the twentieth century.
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