SELECTION

‘Musical Instrument Collections,’ Arnold Bake Society Newsletter, November 2018: 9-10.

‘Address by the Key Note Speaker,’ Vageeshwari 32, March 2018: 8-14.

‘Klaus Ebeling Donates Unique Ragamala Slide Collection,’ South Asia Program, Cornell University, Summer 2014: 14-15.

‘Indian Music Today: 1. Indian Music is Alive and Kicking, 2. A Shared Past, 3. What is a Raga?, 5. Hindustani Music,’ in Indian Music Today: Masters of Raga and Tala Featured at the Concertgebouw (with two CDs), ed. Joep Bor, Amsterdam: Amsterdam India Festival, Het Concertgebouw and PAN Records, 2008: 4-14.

‘Prologue,’ in ‘Networks & Islands: World Music & Dance Education,’ Musiké 3, January/April 2007: vij-viij.

‘Foreword,’ in Jan L. Hartong, Musical Terms Worldwide: A Companion for the Musical Explorer, ed. Simon Mills, Peter van Amstel and Aleksandra Marković, Rome and Den Haag: Semar and Codarts, 2006: xiij-xiv.

‘Is Instrumental Alap the Source of Improvisation in Hindustani Music?,’ in Seminar on Improvisation in Music, ITC-Sangeet Research Academy, Mumbai, 2006: 48-60.

‘Three Important Essays on Hindustani Music,’ Journal of the Indian Musicological Society 36-37, 2006: 5-14.

‘The Sarangi: Its Rise and Fall,’ in Seminar on Continuity and Change: Indian Music, ITC-Sangeet Research Academy, Mumbai, 2004: 114-18; rpt. in The Saurangi Festival, New Delhi: Saurang Parampara and Red Earth, May 2005: n. p.

‘Changing Indian Instruments,’ in Seminar on Research: A Focus on Musical Forms, ITC-Sangeet Research Academy, Mumbai, 2003: 27-34.

‘Keynote Address: Modern Research in North Indian Music, A Brief Overview,’ in Workshops on Research, Archives & Musicians’ Rights, ITC-Sangeet Research Academy, Mumbai, 2002: 8-14.

‘What is a Raga?/Was ist ein Raga?,’ in Musica Sacra International, Marktoberdorf: Bayerische Musikakademie, 2000: 76-92.

‘Gurus and Teachers,’ in Seminar on Teaching of Indian Music, ITC-Sangeet Research Academy, Mumbai, 1998: 25-32.

‘Indian Music and the West,’ in Seminar on Indian Music & the West, ITC-Sangeet Research Academy, Mumbai, 1996: 1-17.

‘Keynote Address,’ in Seminar on Tradition & Change, ITC-Sangeet Research Academy, Bombay, 1995: 58-61.

‘Etnomusigologiaa Vai Maailmanmusiikkia?,’ Musiikin Suunta 1995 (1): 17-26.

‘Keynote Address’ in Seminar on Sarangi, ITC-Sangeet Research Academy, Bombay 1994: 17-22.

‘The Sarangi,’ The India Magazine 10, September 1990: 54-62.

‘International Society for Traditional Arts Research (ISTAR), Nederland,’ The World of Music 31 (1), 1989: 117-19 (with Jane Harvey and Huib Schippers).

‘The Rise of Ethnomusicology: Sources on Indian Music c. 1780 – c. 1890,’ Yearbook for Traditional Music 20, 1988: 51-73.

‘De klank van de Indiase muziek,’ Azië 1 (3), 1987: 70-77.

‘NCPA/ISTAR Research Collaboration,’ National Centre for the Performing Arts Quarterly Journal 14 (1), 1985: 45-53 (with Bernard Bel).

‘On Measuring Notes: A Response to N.A. Jairazbhoy,’ ISTAR Newsletter 3-4, 1985: 46-51 (with W.J. Arnold and Wim van der Meer).

‘Notating Hindustani Music: Giving Importance to Note Treatment,’ ISTAR Newsletter 3-4, 1985: 29-42 (with W.J. Arnold and I. Mott).

‘Memories of an Old Sarangi Player,’ ISTAR Newsletter 3-4, 1985: 5-8.

‘Raga Sketches,’ ISTAR Newsletter 2, 1984: 21-23.

‘My Name is Gauhar Jan,’ ISTAR Newsletter 2, 1984: 4-6.

‘Raga, Species and Evolution,’ Sangeet Natak: Journal of the Sangeet Natak Akademi 35, 1975: 17-48.

‘De klassieke muziek van Noord-India en Pakistan, Yoga Kroniek 12 (2), 1970: 70-81; rpt. as ‘Muziek om bij in leven te blijven,’ Lemuria, 1970: 1-8.