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 Music and Musicians in Late Mughal India

Based on a vast, virtually unstudied archive of Indian writings

alongside visual sources, this book presents the first history of music
and musicians in late Mughal India c.1748–1858, and takes the lives of
nine musicians as entry points into six prominent types of writing on
music in Persian, Brajbhasha, Urdu and English, moving from Delhi
to Lucknow, Hyderabad, Jaipur and among the British. It shows how
a key Mughal cultural field responded to the political, economic and
social upheaval of the transition to British rule, while addressing
a central philosophical question: can we ever recapture the ephemeral
experience of music once the performance is over? These rich, diverse
sources shine new light on the wider historical processes of this pivotal
transitional period, and provide a new history of music, musicians and
their audiences during the precise period in which North Indian
classical music coalesced in its modern form.

katherine butler schofield is Fellow of the Royal Asiatic

Society, and recipient of a European Research Council Grant and
a British Academy Mid-Career Fellowship. She is co-editor of Tellings
and Texts: Music, Literature and Performance in North India (2015)
and Monsoon Feelings: A History of Emotions in the Rain (2018).

Published online by Cambridge University Press

Published online by Cambridge University Press
 Music and Musicians in Late Mughal
India
Histories of the Ephemeral, 1748–1858

katherine butler schofield

King’s College London

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 Shaftesbury Road, Cambridge CB2 8EA, United Kingdom
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www.cambridge.org
Information on this title: www.cambridge.org/9781316517857
DOI: 10.1017/9781009047685
© Katherine Schofield 2024
This publication is in copyright. Subject to statutory exception and to the provisions
of relevant collective licensing agreements, no reproduction of any part may take
place without the written permission of Cambridge University Press & Assessment.
First published 2024
A catalogue record for this publication is available from the British Library.
Library of Congress Cataloging-in-Publication Data
Names: Schofield, Katherine Butler, author.
Title: Music and musicians in late Mughal India : histories of the ephemeral, 1748-1858 /
Katherine Butler Schofield.
Description: [1.] | New York : Cambridge University Press, 2023. | Includes bibliographical
references and index.
Identifiers: LCCN 2023018212 | ISBN 9781316517857 (hardback) | ISBN 9781009048521
(paperback) | ISBN 9781009047685 (ebook)
Subjects: LCSH: Hindustani music – India – 18th century – History and criticism. |
Hindustani music – India – 19th century – History and criticism. | Hinustani music – Iranian
influences. | Musicians – India. | Hindustani music – Social aspects – India – History – 18th
century. | Hindustani music – Social aspects – India – History – 19th century. | Mogul
Empire – Court and courtiers – History – 18th century. | Mogul Empire – Court and
courtiers – History – 19th century. | East India Company – History – 18th century. | East
India Company – History – 19th century.
Classification: LCC ML338.4 .S36 2023 | DDC 780.954–dc23/eng/20230510
LC record available at https://lccn.loc.gov/2023018212
ISBN 978-1-316-51785-7 Hardback
Cambridge University Press & Assessment has no responsibility for the persistence
or accuracy of URLs for external or third-party internet websites referred to in this
publication and does not guarantee that any content on such websites is, or will
remain, accurate or appropriate.

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 In memory of Bruce Wannell and Allison Busch.

To Mirwaiss Sidiqi, Waheedullah Saghar, Mohsen Saifi,

Ferishta Farrukhi, Najeba Arian, Homira Sabawoon and
all my other Afghan sisters and brothers in music: may you
find your way home.

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Published online by Cambridge University Press
 Contents

List of Figures [page viii]

List of Tables [xi]
List of Boxes [xii]
List of Examples [xiii]
Acknowledgements [xiv]
Notes on the Text [xviii]
Ruling Dynasties [xxii]
Genealogies of Principal Musicians and Music Treatises [xxv]

1 Chasing Eurydice: Writing on Music in the Late Mughal World [1]

2 The Mughal Orpheus: Remembering Khushhal Khan
Gunasamudra in Eighteenth-Century Delhi [20]

3 The Rivals: Anjha Baras, Adarang and the Scattering of

Shahjahanabad [49]
4 The Courtesan and the Memsahib: Khanum Jan and Sophia
Plowden at the Court of Lucknow [79]
5 Eclipsed by the Moon: Mahlaqa Bai and Khushhal Khan Anup in
Nizami Hyderabad [117]
6 Faithful to the Salt: Mayalee Dancing Girl versus the East India
Company in Rajasthan [147]
7 Keeper of the Flame: Miyan Himmat Khan and the Last of the
Mughal Emperors [180]
8 Orphans of the Uprising: Late Mughal Echoes and 1857 [219]

Glossary [248]
Bibliography [257]
Tazkira: List of Names [285]
Index [296]

vii

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 Figures

Front cover: Portrait of a Delhi qawwāl. Illustration for James Skinner’s

Tashrīh al-Aqwām. Hansi, 1825. Add. 27,255, f. 457v. © The British Library
Board.
1.1 Painting of the pietra dura inlay of Orpheus in the Hall of Public
Audience, Shahjahanabad. 1845. 292D-1871. © Victoria & Albert
Museum, London. [page 18]
2.1 Khushhal Khan Gunasamudra performing at Dara Shukoh’s wedding
(detail). c. 1700. RCIN1005068, f. 26v. Royal Collection Trust
© Her Majesty Queen Elizabeth II 2015. [33]
2.2 Ragini Todi. c. 1755. Catherine and Ralph Benkaim Collection,
2013.340. The Cleveland Museum of Art. Public Domain. [34]
2.3 The connections between celestial bodies, musical notes, elements and
effects. [43]
2.4 Dhrupad in Ragini Todi. 18 C. 1939.552, verso. Yale University Art
Gallery. Public Domain. [47]
3.1 Anup’s musical genealogy as a fantasy majlis. Anup, Rāg Darshan. 1800,
illustrated by Haji Mir Ghulam Hasan 1804. Lawrence J Schoenberg
Collection, LJS 63, f. 3v. University of Pennsylvania Special
Collections Library. CC–BY. [52]
4.1 Probably Sir David Ochterlony, watching a nāch. c. 1820. Add. Or. 2.
© The British Library Board. [80]
4.2 Mrs Sophia Elizabeth Plowden. John Russell, 1797. © The Birla
Museum, Pilani. [90]
4.3 A and B. Persian rubācī, ‘Sāqī-ā! Fasl-i bahār ast!’ Plowden, Album,
f. 8 and Tunebook, f. 14v. 1787–8. MS 380. © Fitzwilliam Museum,
University of Cambridge. [93]
4.4 Courtesan performing for Colonel Antoine Polier in Lucknow.
1786–88. 2005.83. Bequest Balthasar Reinhart. Museum Rietberg,
Zürich © Rainer Wulfsberger. [101]
4.5 A and B. Urdu khayāl, ‘Sunre macshūqā be-wafā!’ Plowden, Album, f. 21
and Tunebook, f. 39v. MS 380. © Fitzwilliam Museum, University of
Cambridge. [109]
viii

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 List of Figures ix

4.6 ‘Tāza ba tāza no ba no’. Plowden, Album, f. 1. MS 380. © Fitzwilliam

Museum, University of Cambridge. [111]
4.7 A and B. Persian ghazal, ‘Surwi ruwān-i kīstī’ by Khaqani (1122–90).
Plowden, Album, f. 11 and Tunebook, f. 19v. MS 380. © Fitzwilliam
Museum, University of Cambridge. [115]
5.1 Mahlaqa Bai Chanda singing for Raja Rao Ranbha, by Haji Mir Ghulam
Hasan. Khushhal Khan Anup, Rāg Darshan. LJS 63, f. 2v. University of
Pennsylvania Special Collections Library. CC–BY. [119]
5.2 Horī, khayāl and tappa compositions in Ragini Khamaj. Khushhal Khan
˙ ˙
Anup, Rāg-Rāginī Roz o Shab. 1833–6. Urdu Mus 2, f. 123v–4r.
© Salar Jung Museum Library, Hyderabad. [122]
5.3 Ragini Khambhavati, Khushhal Khan Anup, Rāg Darshan.
LJS 63, f. 9v. University of Pennsylvania Special Collections
Library. CC–BY. [125]
5.4 Ragini Khambhavati. c. 1675. 2000.321. Gift of Doris Wiener, in honour
of Stephen Kossak, 2000. Metropolitan Museum of Art. Public
Domain. [128]
5.5 Ragini Khambhavati. Khushhal Khan Anup, Rāg Darshan. Late 18 C.
© Photo courtesy of Sotheby’s, 2019. [129]
5.6 Detail, Raja Rao hunting, by Haji Mir Ghulam Hasan. Khushhal Khan
Anup, Rāg Darshan. LJS 63, f. 18r. University of Pennsylvania Special
Collections Library. CC–BY. [139]
5.7 Chand Bibi of Ahmadnagar hunting. c.1700. 1999.403. Louis E. and
Theresa S. Seeley Purchase Fund for Islamic Art, 1999. Metropolitan
Museum of Art. Public Domain. [140]
6.1 Measuring salt piles at Sambhar Lake, Jaipur State, 1870s. Photo 355/
1(59). The British Library. Public Domain. [148]
6.2 Map of Sambhar Lake. [156]
6.3 Bhagtan performing the role of Krishna in Raslila, attr. Sahib
Ram, c.1800. © The Private Collection of the Royal Family
of Jaipur. [164]
6.4 Pensions paid from Sambhar Treasury on account of Jaipur State,
1 January to 30 June 1839, Section 2. The British Library. Public
Domain. [168]
6.5 A steamboat ride on a lake. Mid 19 C. © Christie’s Images Limited,
2022. [176]
7.1 Portrait of Miyan Himmat Khan, from James Skinner,
Tashrīh al-Aqwām. 1825. Add. 27,255, f. 134v.
© The British Library Board. [181]

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 x List of Figures

7.2 ‘A Nautch at Colonel Skinner’s Given to Me By Himself 1838’. Add. Or.

2598. © The British Library Board. [189]
7.3 Illustration of the bāzīgār (conjuror) for Skinner’s Tashrīh al-Aqwām.
Add. 27,255, f. 120v (detail). The British Library. Public Domain. [190]
7.4 Qawwāls at the shrine of Hazrat Nizam-ud-din Chishti, after Mazhar
c
Ali Khan. 1836. IM.41–1923. © Victoria & Albert Museum,
London. [192]
7.5 A and B. Khwaja Moin-ud-din Chishti and a gathering of mystics and
musicians; and detail. c. 1650–55. IS.94–1965. © Victoria & Albert
Museum, London. [193]
7.6 Performing communities in the Gentil Album. 1774. IS.25:26–1980.
© Victoria & Albert Museum, London. [198]
7.7 North Indian kanchanīs. Tanjore, c.1828. Add. Or. 62. © The British
Library Board. [200]
7.8 The Mughal tawā’if Malageer, by Lallji or Hulas Lal. 1815. © Collection
of Prince and Princess Sadruddin Aga Khan. [202]
7.9 Shahamat Jang and Ikram-ud-daula giving an evening of musical
entertainment (detail). 1748–50. © National Museums of Scotland.
Accepted in lieu of inheritance tax by H M Government and allocated
to the National Museums of Scotland. [203]
8.1 The Nawab of Awadh, Wajid cAli Shah, accompanying courtesan
Sarafraz Mahal on the tabla. Wajid cAli Shah, cIshqnāma. 1849–50.
RCIN 1005035, f. 242r. Royal Collection Trust © Her Majesty Queen
Elizabeth II 2015. [222]

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 Tables

3.1 Comparison of musical tazkiras and genealogies that use Rasikh’s

Risāla. [page 60]
4.1 Correlation of Plowden’s texts with their tunes. [86]
7.1 The Hanuman mat vs. Ghulam Raza’s rāga-rāginī system. [210]
7.2 The tāla systems of Ras Baras Khan, Hakim Hasan Maududi Chishti
and Ghulam Raza, cf. Ranj/Himmat. [212]

xi

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 Boxes

2.1 The canonical Mughal Persian treatises on Hindustani

music. [page 39]
3.1 List of key writings c. 1740–1850 that include musicians’ tazkiras and/or
genealogies. [59]
7.1 The ten ‘vedic and shastric’ texts cited in Skinner’s entries on performers
found in Tod’s manuscript collection in the Royal Asiatic Society. [204]

xii

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 Examples

4.1 ‘I. The Ghut’ (gat) from William Hamilton Bird, Oriental Miscellany
(Calcutta, 1789), p. 1. Public Domain. [page 82]
4.2 B and C melodies of ‘Sāqī-ā!’ compared. Plowden, Tunebook,
f. 13v, f. 20v. MS 380. © Fitzwilliam Museum, University of
Cambridge. [95]
4.3 Notation of medium speed jald tītāla. 1788. Or. MS 585, f. 64v.
Edinburgh University Library. [106]
4.4 Persian ghazal ‘Tāza ba tāza no ba no’ by Hafiz. Bird No. IV with the
first Persian line underlaid [112]
4.5 Persian ghazal, ‘Tāza ba tāza no ba no’ by Hafiz. Sophia Plowden,
Tunebook, f. 11r with the first line underlaid. Lucknow, 1787–8. MS 380.
© Fitzwilliam Museum, University of Cambridge [113]
4.6 ‘Tāza ba tāza no ba no’ set in Rag Bhairavi to a cycle of
seven beats. [114]
7.1 Ghulam Raza’s notation of the sthyā’ī tān of Ragini Bhairavi. [208]
7.2 Dhīmā titāla kalāwantī, the first tāla in the eleven tāla system of the
Asl al-Usūl. [215]

xiii

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 Acknowledgements

Twenty-five years since I started a master’s degree at SOAS, University of

London that would lead to a life-long love affair with Hindustani music and
Mughal history, I have finally finished my first single-authored book. Were
I to thank everyone who has made an impact on my journey this past quarter
of a century, I would have to write a second one, and would undoubtedly still
forget to mention someone’s name! With that in mind, I have decided to
name in these acknowledgements only those individuals and institutions
that have made a direct contribution to the writing of this book. But know
this: if you find that your name is not here, and you have at any point
interacted with me about my work or supported me with a cuppa or a chat –
I did notice and appreciate it; you did make an impact; and I thank you for
your immeasurable insights and acts of kindness over the years.
The research and writing of this book were generously funded by a five-
year Starting Grant from the European Research Council (no. 263643
MUSTECIO, PI: Katherine Butler Schofield); a one-year British Academy
Mid-Career Fellowship in conjunction with the British Library (no.
MD160059); and a publication subvention from King’s College London.
I was fortunate to write much of the first draft at the Centre for South Asian
Studies at the University of Cambridge, and the final draft was pulled into
shape thanks to a visiting professorship at the Department of South Asia
Studies, University of Pennsylvania; I am hugely grateful to everyone in
both places. The following kindly invited me to share my research with
audiences: Dr Ashok da Ranade Memorial Lecture, Mumbai; Australian
Historical Association; Reinhard Strohm’s Balzan Programme in
Musicology; Chhatrapati Shivaji Maharaj Vastu Sanghralaya, Mumbai;
ÉHÉSS Paris; Jaipur Literature Festival; Lahore Literary Festival; Max
Planck Institute for the History of the Emotions, Berlin; Prof SAH Abidi
Memorial Lecture, Delhi; Serbian Academy of Sciences and Arts, Belgrade;
University of Cambridge; UC Berkeley; UC Davis; UCLA; and University
of Oxford. Thank you.
The following generously provided access to their collections, and I hope
that this book will give something back to them: Andhra Pradesh
xiv Government Oriental Manuscripts Library, Hyderabad; Andhra Pradesh

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 Acknowledgements xv

State Archives, Hyderabad; Asiatic Society of Bengal, Kolkata; Ashmolean

Museum, Oxford; Bibliothèque Nationale de France, Paris; Birla Museum,
Pilani; Bodleian Library, Oxford; British Library, London; Cambridge
University Library; Christie’s; Collection of Prince and Princess
Sadruddin Aga Khan; Edinburgh University Library; Fitzwilliam
Museum, Cambridge; Government Oriental Manuscripts Library,
University of Madras; John Rylands Library, Manchester; Khuda Bakhsh
Oriental Public Library, Patna; Maharaja Sawai Man Singh II Museum,
Jaipur; Musee für Islamische Kunst und Asiatische Kunst, Berlin; National
Archives of India; National Museums of Scotland; Rietberg Museum,
Zürich; Norfolk Records Office; Royal Asiatic Society, London; Royal
Collection, Windsor; Royal Green Jackets (Rifles) Museum, Winchester;
Salar Jung Museum Library, Hyderabad; Sotheby’s; University of
Pennsylvania Rare Book and Manuscript Library; UK National Archives;
Victoria & Albert Museum; Yale University Art Gallery; Royal Family of
Jaipur, Geoffrey Plowden, Kathy and Malcolm Fraser, Nicolas Sursock and
Ustad Irfan Muhammad Khan-sahib.
Thanks for scholarly assistance and friendship are due in alphabetical order
to Daud Ali, Jon Barlow, Nick Barnard, Priyanka Basu, Amy Blier-
Carruthers, Olivia Bloechl, Robin Bunce, Esther Cavett, T S Rana Chhina,
Adil Rana Chhina, Nicholas Cook, Amlan Das Gupta, John Deathridge, Katie
De La Matter, Chris Duckett, Arthur Dudney, Munis Faruqui, Darren
Fergusson, Roy Fischel, Andy Fry, Elizabeth Gow, Bendor Grosvenor,
Vivek Gupta, Emily Hannam, Matthew Head, Tom Hodgson, Liam Rees
Hofmann, Ranjit Hoskoté, Danish Husain, Tom Hyde, ICFAMily, David
RM Irving, Radha Kapuria, Max Katz, Pasha M Khan, Razak Khan, Ustad
Wajahat Khan-sahib, Shailaja Khanna, Mana Kia, Tanuja Kothiyal, Daniel
Leech-Wilkinson, Saif Mahmood, Yusuf Mahmoud, Nicolas Magriel, Peter
Marshall, M Athar Masood, Nick McBurney, Phalguni Mitra, Mohsen
Mohammedi, Anna Morcom, Daniel Neuman, Laudan Nooshin, Jenny
Norton-Wright, Rosalind O’Hanlon, Roger Parker, Heidi Pauwels, Norbert
Peabody, Cayenna Ponchione-Bailey, Regula Qureshi, Yael Rice, Malini Roy,
Vikram Rooprai, Zahra Sabri, Rana Safvi, Kevin Schwartz, Sunil Sharma,
Yuthika Sharma, Chander Shekhar, Ayesha Sheth, Gianni Sievers, Nur
Sobers-Khan, Gabriel Solis, Martin Stokes, Mirwaiss Sidiqi, Sue Stronge,
Lakshmi Subramanian, Jim Sykes, Nathan Tabor, Giles Tilletson, Mrinalini
Venkateswaran, Guy Walters, Friederike Weiss, Richard Wolf, Pete Yelding,
Zehra Zaidi, my amazing PhD students and all my beloved #Twitterstorians.
Thank you particularly to Chris Brooke for lending me his nearby flat when
I needed a quiet space to work in.

Published online by Cambridge University Press

 xvi Acknowledgements

I have travelled on this journey for the past decade with the most
wonderful companions on the Awadh Case Study of my ERC project: to
Jim Kippen, Allyn Miner, Meg Walker and Richard David Williams, I owe
you a debt of intellectual enrichment I can never repay. Thank you, too, to
my paracolonial partners-in-crime, Julia Byl and especially David Lunn,
who has not only been my main and wisest sounding board for as long as
I can remember but who also did the index and map for this book. It was
my enormous privilege to work with harpsichordist Jane Chapman and
podcast producer Chris Elcombe in bringing some of this research to life
through sound. Many thanks, too, to Ursula Sims-Williams for her shared
enthusiasm over the decades for the extraordinary South Asian musical
materials in the British Library. I am indebted for help with translations at
various stages to Parmis Mozafari and the late Bruce Wannell especially,
but also Kashshaf Ghani, Richard David Williams, David Lunn and Zahra
Sabri.
Over the years of this book’s gestation, I have been nourished by the deep
friendship, kind mentorship, brilliant conversations and gentle critique of
Molly Aitken, Michael Bywater, William Dalrymple, Emma Dillon,
Francesca Orsini, Margrit Pernau, Davesh Soneji, Meg Walker and the
late, much-missed Allison Busch and Bruce Wannell. Thank you, too, to all
those who read the draft, especially my two anonymous reviewers, William
Dalrymple, Aneesh Pradhan, my mother Ruth Butler and my husband
Paul. I finally wish to pay tribute to the academic forebears upon whose
shoulders I stand: Najma Perveen Ahmad, Shahab Sarmadee, Madhu
Trivedi, Françoise ‘Nalini’ Delvoye and especially Richard Widdess, who
many years ago now was my PhD supervisor. There is one final person
I would like to thank in this vein: my aunt Elizabeth Wiedemann, local
historian of the Inverell district in New South Wales and author of World of
Its Own: Inverell’s Early Years, 1827–1920 and Holding Its Own: The
Inverell District Since 1919. From the time I was a tiny child, it was her
inspiring example that taught me that ‘historian’ was something you could
be – and that small stories of ordinary striving matter to the bigger picture.
This book was written and completed painfully slowly during the years
of the Covid-19 pandemic, and delayed further due to my involvement in
the international effort to help Afghanistan’s musicians get themselves to
safety after the fall of Kabul to Taliban in August 2021; never has the
‘scattering’ of Shahjahanabad 260 years ago felt so close. I am forever
grateful to have found such a patient and generous editor in Kate Brett
and her team at Cambridge University Press (especially Abi Sears) to steer
this very stately ship to shore. But their patience is nothing in comparison

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 Acknowledgements xvii

to that of my son Alex, who was seven when this book’s journey began and
is now a teenager. Every so often he asks me politely, ‘How is your book
going?’ Finally I can tell him, ‘It is finished! tamām shod!’
The best ideas in here were inspired by conversations with Paul
Schofield, a broad intellectual and cultural enthusiast beyond compare.
This book is for him, my own dear rasika.

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 Notes on the Text

On Transliteration

This book is based largely on sources in the Persian language that contain
a great deal of Indic vocabulary, and more selectively from texts in early
forms of Urdu (rekhta) and Hindi (Brajbhāsā) written in the nastcalīq
˙
script. I use a simplified system of transliteration which only marks long
vowels (ā ī ū); retroflex consonants (d dh n r s t th) and nasalisation (ṅ) in
˙ ˙ ˙ ˙ ˙ ˙˙
words of Indic origin; cain (superscript c) and hamza (’); and distinguishes
kh ‫ ﮐﮫ‬from kh ‫ ﺥ‬and gh ‫ ﮔﮫ‬from gh ‫ﻍ‬. The glossary and titles of untranslated
sources in the bibliography include full diacritical markings following
F Steingass’ Comprehensive Persian–English Dictionary and John T Platts’
Dictionary of Urdū, Classical Hindī and English.1 In accordance with
Steingass I use -i for the izafat construction (e.g. majlis-i samāc), and al-
in titles of works (e.g. Usūl al-Naghmāt).
Spellings (except for proper nouns) are per Steingass and Platts, deferring
to Steingass for words of Persian and Arabic origins (e.g. z, not dh, for ‫)ﺫ‬. The
key exception is the important term mehfil (not mahfil) as it is used today for
˙ ˙
private musical assemblies. Titles of published works in the bibliography are
spelled in accordance with their publishers’ preferences for romanisation.
In a text this complex, there will inevitably be mistakes and inconsisten-
cies; when you find one, feel free to shout ‘bingo’!

On Dates and Calendars

I have translated dates from the al-Hijri lunar calendar (AH) into
Christian/Common Era (CE) dates throughout, using the useful tool avail-
able at www.muslimphilosophy.com/ip/hijri.htm. The AH lunar year and
CE solar year are of different lengths, so there is no systematic date
correspondence between them. Where the source gives the AH month

1
F Steingass, A Comprehensive Persian–English Dictionary (London: Routledge and Kegan Paul,
1963 [orig. 1892]); John T Platts, Dictionary of Urdū, Classical Hindī and English (New Delhi:
xviii Munshiram Manoharlal, 1997 [orig. 1884]).

Published online by Cambridge University Press

 Notes on the Text xix

(and sometimes day) along with the year, I give the exact CE year (e.g.
1800); where just the AH year is provided, I give a forward-slashed year
range (e.g. 1862/3). If only the regnal year is given, this is presented as
a dashed year range (e.g. 1752–3).
The Vikram Samvat (VS) solar year of the Hindu calendar is the same
length as CE, although the months are lunar. It has generally not been
necessary to calculate the VS–CE conversion, as for the chapter on
Rajasthan I am mainly using British documents. But for the record, the
Vikram ritual year (samvat) in use in Jaipur and Jodhpur began on 1
Chaitra (March), the revenue year began on 2 Bhadrapada (August)2 and
the year conversion is generally calculated by taking fifty-seven years from
the VS year to arrive at the CE year.

On Proper Nouns

For names of places I have generally used the Anglicised names prevalent
during the period covered in this book (e.g. Calcutta, Tanjore rather than
Kolkata, Thanjavur). With festivals, I have chosen to use common spellings
without diacritical markings; for example, Diwali rather than Dīwālī, Eid
not cĪd.
Many of the people in this book have long names, pseudonyms and/or
multiple titles, some of them easily confused (there are two Khushhal
Khans and two Ghulam Razas, for instance). I use the long form of
individuals’ names in the first instance, without any diacritical markings,
spelled to reflect their usual pronunciation in Indian languages today (e.g.
Moin-ud-din rather than Mucīn al-Dīn). Thereafter, I have used a variety of
strategies:
• Where the person was a poet, author or musician, I refer to them when
possible using their takhallus or nom de plume/stage name; so cInayat
Khan Rasikh and Nicmat Khan Sadarang become Rasikh and Sadarang.
There are a few exceptions, such as where individuals are only ever
referred to by one name (e.g. Tansen). To avoid confusion I refer to
Khushhal Khan Gunasamudra of Chapter 2 as Khushhal, as his father
was also Gunasamudra, and Khushhal Khan Anup of Chapter 5 as Anup.

2
Monika Horstmann, In Favour of Govinddevjī: Historical Documents Relating to a Deity of
Vrindaban and Eastern Rajasthan (New Delhi: Indira Gandhi National Centre for the Arts and
Manohar, 1999), pp. 69–70.

Published online by Cambridge University Press

 xx Notes on the Text

• Where I use an individual’s name rather than their takhallus, I use the
shortest form that makes meaningful sense and won’t easily be confused
with another individual, for example Himmat for Miyan Himmat Khan,
Raushan-ud-daula (not Raushan) for Raushan-ud-daula Zafar Khan
Bahadur Rustam Jang. To avoid confusion with the Mughal Emperor
Ahmad Shah (r. 1748–54), I refer to the Afghan warlord Ahmad Shah
Abdali Durrani as Abdali. I call the sitār player Ghulam Raza of the
1840s–50s by his title, Razi-ud-daula, to distinguish him from the
important treatise writer of the 1790s Ghulam Raza qawwāl.
• Emperors, queens, royal princes and independent rulers are referred to
using their common ruling titles: so Muhammad Shah; Lal Kanvar;
Muhammad Aczam Shah; (Nawab) Asaf-ud-daula; (Maharaja) Ram
Singh; and so on. Shah cAlam in this book always refers to Shah cAlam
II (r. 1759–1806).
• I use the honorific titles Hazrat, Khwaja, Shaikh, Hakim, Miyan and so
on where they are present in the original texts.

Published online by Cambridge University Press

Another Random Scribd Document
with Unrelated Content
 Neuroscience - Workbook
Winter 2025 - Academy

Prepared by: Lecturer Smith

Date: July 28, 2025

Discussion 1: Historical development and evolution

Learning Objective 1: Current trends and future directions
• Theoretical framework and methodology
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Formula: [Mathematical expression or equation]
Learning Objective 2: Historical development and evolution
• Learning outcomes and objectives
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
[Figure 2: Diagram/Chart/Graph]
Learning Objective 3: Experimental procedures and results
• Interdisciplinary approaches
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Learning Objective 4: Experimental procedures and results
• Learning outcomes and objectives
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Learning Objective 5: Current trends and future directions
• Fundamental concepts and principles
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Important: Practical applications and examples
• Experimental procedures and results
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Practice Problem 6: Study tips and learning strategies
• Practical applications and examples
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Practice Problem 7: Interdisciplinary approaches
• Practical applications and examples
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
[Figure 8: Diagram/Chart/Graph]
Example 8: Theoretical framework and methodology
• Research findings and conclusions
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Remember: Assessment criteria and rubrics
• Experimental procedures and results
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Appendix 2: Best practices and recommendations
Note: Current trends and future directions
• Problem-solving strategies and techniques
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Example 11: Case studies and real-world applications
• Theoretical framework and methodology
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Remember: Statistical analysis and interpretation
• Critical analysis and evaluation
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Remember: Case studies and real-world applications
• Study tips and learning strategies
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Example 14: Ethical considerations and implications
• Case studies and real-world applications
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
[Figure 15: Diagram/Chart/Graph]
Note: Comparative analysis and synthesis
• Historical development and evolution
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Key Concept: Experimental procedures and results
• Comparative analysis and synthesis
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Practice Problem 17: Best practices and recommendations
• Literature review and discussion
- Sub-point: Additional details and explanations
- Example: Practical application scenario
[Figure 18: Diagram/Chart/Graph]
Example 18: Historical development and evolution
• Current trends and future directions
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
[Figure 19: Diagram/Chart/Graph]
Remember: Assessment criteria and rubrics
• Fundamental concepts and principles
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Formula: [Mathematical expression or equation]
Test 3: Learning outcomes and objectives
Practice Problem 20: Critical analysis and evaluation
• Current trends and future directions
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Example 21: Key terms and definitions
• Critical analysis and evaluation
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Formula: [Mathematical expression or equation]
[Figure 22: Diagram/Chart/Graph]
Example 22: Fundamental concepts and principles
• Current trends and future directions
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Formula: [Mathematical expression or equation]
Practice Problem 23: Assessment criteria and rubrics
• Key terms and definitions
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Formula: [Mathematical expression or equation]
Remember: Fundamental concepts and principles
• Learning outcomes and objectives
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Definition: Historical development and evolution
• Assessment criteria and rubrics
- Sub-point: Additional details and explanations
- Example: Practical application scenario
[Figure 26: Diagram/Chart/Graph]
Practice Problem 26: Comparative analysis and synthesis
• Experimental procedures and results
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Note: Ethical considerations and implications
• Problem-solving strategies and techniques
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
[Figure 28: Diagram/Chart/Graph]
Key Concept: Statistical analysis and interpretation
• Comparative analysis and synthesis
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Important: Experimental procedures and results
• Current trends and future directions
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Conclusion 4: Case studies and real-world applications
Important: Theoretical framework and methodology
• Key terms and definitions
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Remember: Current trends and future directions
• Problem-solving strategies and techniques
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Formula: [Mathematical expression or equation]
[Figure 32: Diagram/Chart/Graph]
Key Concept: Best practices and recommendations
• Historical development and evolution
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Definition: Key terms and definitions
• Best practices and recommendations
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
[Figure 34: Diagram/Chart/Graph]
Note: Case studies and real-world applications
• Literature review and discussion
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Remember: Practical applications and examples
• Case studies and real-world applications
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
[Figure 36: Diagram/Chart/Graph]
Important: Study tips and learning strategies
• Problem-solving strategies and techniques
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Key Concept: Research findings and conclusions
• Current trends and future directions
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Definition: Historical development and evolution
• Fundamental concepts and principles
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Remember: Case studies and real-world applications
• Ethical considerations and implications
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Review 5: Case studies and real-world applications
Note: Historical development and evolution
• Interdisciplinary approaches
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Remember: Fundamental concepts and principles
• Comparative analysis and synthesis
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
[Figure 42: Diagram/Chart/Graph]
Important: Key terms and definitions
• Comparative analysis and synthesis
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
[Figure 43: Diagram/Chart/Graph]
Practice Problem 43: Assessment criteria and rubrics
• Interdisciplinary approaches
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Key Concept: Comparative analysis and synthesis
• Literature review and discussion
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
[Figure 45: Diagram/Chart/Graph]
Key Concept: Current trends and future directions
• Study tips and learning strategies
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Example 46: Problem-solving strategies and techniques
• Practical applications and examples
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Key Concept: Statistical analysis and interpretation
• Practical applications and examples
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Key Concept: Comparative analysis and synthesis
• Best practices and recommendations
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
[Figure 49: Diagram/Chart/Graph]
Definition: Experimental procedures and results
• Comparative analysis and synthesis
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
[Figure 50: Diagram/Chart/Graph]
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