what do you understand by Hossay and chutney music
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CHUTNEY MUSICAnytime you visit Trinidad (especially during Carnival) you will eventually hear the exotic sounds of chutney music blaring from a maxi taxi, playing in a dance club, or on the street. And surprisingly enough, you might be able to hear it in other parts of the Indian diaspora. This presentation is designed to give an overview of my initial explorations into chutney music, its musical connections to India, and its role in the greater Indian musical diaspora. Since this is a newly developing music, this project has been extremely difficult to research, and it will continue to be an ongoing topic/hobby for me within my studies of Trinidadian and West Indian music.
First, I would like to give some quotes of sources that attempt to define chutney music. TIDCO, the official tourist development company of Trinidad, gives this definition:
Chutney is an up-tempo, rhythmic song, accompanied by the dholak, the harmonium and the dhantal. Originally, chutney songs made reference to deities and were offensive to religious leaders. Within recent times, the chutney has become extremely popular and new compositions are being written. Some of these contain calypso and soca rhythms. There is also some extemporaneous composition and accompaniment (especially in the growing number of competitions) may be provided by bands which include Indian, Western and African instruments (TIDCO 1996, 16).
This definition indicates several important features to chutney. First, it is a music with a religious background. This is one of the only sources that suggests sacred origins. Secondly, it is a popular music, which utilizes folk acoustic instruments. This is important to note since many modern popular genres in Trinidad exclude the use of acoustic (or non-electrified) musical instruments. Lastly, the definition gives the impression that the music has been integrated into other world music styles. This is one of the most important features of this music, in my opinion, and one that ties it to other Indian diasporic musics such as bhangra.
First, I would like to give some quotes of sources that attempt to define chutney music. TIDCO, the official tourist development company of Trinidad, gives this definition:
Chutney is an up-tempo, rhythmic song, accompanied by the dholak, the harmonium and the dhantal. Originally, chutney songs made reference to deities and were offensive to religious leaders. Within recent times, the chutney has become extremely popular and new compositions are being written. Some of these contain calypso and soca rhythms. There is also some extemporaneous composition and accompaniment (especially in the growing number of competitions) may be provided by bands which include Indian, Western and African instruments (TIDCO 1996, 16).
This definition indicates several important features to chutney. First, it is a music with a religious background. This is one of the only sources that suggests sacred origins. Secondly, it is a popular music, which utilizes folk acoustic instruments. This is important to note since many modern popular genres in Trinidad exclude the use of acoustic (or non-electrified) musical instruments. Lastly, the definition gives the impression that the music has been integrated into other world music styles. This is one of the most important features of this music, in my opinion, and one that ties it to other Indian diasporic musics such as bhangra.
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