Performing environmentalisms: expressive culture and ecological change

music for hundreds of years, the rise in popularity of non-Indian music genres within mainstream North Indian society, the often rigid conservatism of the sāran gī musicians themselves, coupled with an influx of increasingly popular alternative accompanying instruments for Hindustani classical music such as violin and harmonium (not to mention the considerable difficulties involved in both learning to play and to maintain the instrument), have all conspired to mark the sāran gī as an endangered species. Nevertheless, the sāran gī endures; and Magriel himself notes that his own latest work demonstrates ‘the apparent paradox that the sāran gī is alive and well, albeit in increasing obscurity’ (29). In summary, Sāran gī Style in Hindustani Music will provide compelling reading for ethnomusicologists, South Asia specialists, North Indian classical music enthusiasts and music analysts alike, whilst being an essential volume for any serious student of the sāran gī.