TY - JOUR
T1 - Music as Thinking/Thinking as Music
T2 - A Dialogue with Mukund Lath
AU - Raveh, Daniel
N1 - Publisher Copyright:
© 2022, The Author(s), under exclusive licence to Springer Nature B.V.
PY - 2022/8
Y1 - 2022/8
N2 - This article offers a dialogue with Mukund Lath. It is comprised of three parts: Part One introduces Lath’s body of work. The second and third parts are a jugalbandī, a duet or dialogue with Lath through his essays “Identity Through Necessary Change” (2003/2018) and “Thoughts on Svara and Rasa: Music as Thinking/Thinking as Music” (2016). In the first essay, Lath discusses the question of identity and self, suggesting through classical Indian music, rāga music, that it is change and plurality, not continuity despite change, that define the human person. In the second essay, Lath creates a dialogue between music and thinking. He looks into the denotative and the evocative elements of language through the notions of abhidhā and vyañjanā, focusing on vyañjanā that is at the heart of music and projecting it as a pramāṇa that reveals a thought-like self-reflexive trajectory at the emotive level of consciousness. In the mirror of thinking, Lath suggests, this unique self-reflexivity that music has to offer becomes more transparent. In the mirror of music, this article adds to Lath’s discussion, thinking can rediscover its own vyañjanā aspect and, moreover, overcome the illusion of “one truth” as its alleged goal.
AB - This article offers a dialogue with Mukund Lath. It is comprised of three parts: Part One introduces Lath’s body of work. The second and third parts are a jugalbandī, a duet or dialogue with Lath through his essays “Identity Through Necessary Change” (2003/2018) and “Thoughts on Svara and Rasa: Music as Thinking/Thinking as Music” (2016). In the first essay, Lath discusses the question of identity and self, suggesting through classical Indian music, rāga music, that it is change and plurality, not continuity despite change, that define the human person. In the second essay, Lath creates a dialogue between music and thinking. He looks into the denotative and the evocative elements of language through the notions of abhidhā and vyañjanā, focusing on vyañjanā that is at the heart of music and projecting it as a pramāṇa that reveals a thought-like self-reflexive trajectory at the emotive level of consciousness. In the mirror of thinking, Lath suggests, this unique self-reflexivity that music has to offer becomes more transparent. In the mirror of music, this article adds to Lath’s discussion, thinking can rediscover its own vyañjanā aspect and, moreover, overcome the illusion of “one truth” as its alleged goal.
KW - Anekānta
KW - Change
KW - Identity
KW - Mukund Lath
KW - Music
KW - Rāga
KW - Thinking
UR - http://www.scopus.com/inward/record.url?scp=85134327730&partnerID=8YFLogxK
U2 - 10.1007/s11407-022-09315-0
DO - 10.1007/s11407-022-09315-0
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AN - SCOPUS:85134327730
SN - 1022-4556
VL - 26
SP - 135
EP - 154
JO - International Journal of Hindu Studies
JF - International Journal of Hindu Studies
IS - 2
ER -