Dara O'Brien

Robert Denis Collison Black was internationally recognized as the authority on Jevons, and in particular on the centrally important elements of Benthamite Utilitarianism in Jevons' thought. Jevons' Theory Political Economy was, Black argued, a Benthamite exercise, not a systematic treatise on value and distribution. This in turn explained why Jevons' theory of production was essentially classical, and why he had no theory of aggregate distribution. Black's work on Jevons also threw light on the professionalization of economics. Black was the well-merited recipient of many honours. In 1974 he was elected both a Fellow of the British Academy and a Member of the Royal Irish Academy. He became an Honorary Fellow of Trinity College, Dublin in 1982; President of the Statistical and Social Inquiry Society of Ireland over the years 1983 to 1986; acted as President of Section F of the British Association in 1984–5; was elected a Distinguished Fellow of the History of Economics Society in 1987; and in 1988, Queen's University bestowed upon him an Hon. D.Sc. Econ.

Terence Wilmot Hutchison, a Fellow of the British Academy, was a historian of economics, methodologist, and acerbic critic of hubris and pretension amongst economists. He was born at Bournemouth and grew up in London. Hutchison's father was the flamboyant and much married Robert Langton Douglas, while his mother was Grace Hutchison. It was as a classicist that he went to the University of Cambridge in 1931. But Hutchison quickly lost interest in a subject that seemed to him to have little relevance to the economic turmoil of the world, and switched to economics, graduating in 1934 with a First. He left Cambridge in 1934 and registered as an occasional student at the London School of Economics. This chapter presents a biography of Hutchison and also narrates his trips to Germany, Iraq, and India, as well as his stints at the University of Hull, LSE, and the University of Birmingham.

This dissertation centres on philosophical attitudes presented by North Indian classical musicians in relation to the concept and experience of rāga improvisation. In Hindustāni music, there is a dynamic tension ideology and pragmatism, devotion and entertainment, fixity and improvisational freedom, and cognition and visceral experience. On one hand, rāga is an embodied methodological template for the creation of music. On the other hand, rāga improvisation is conceptualised as a path to metaphysical experience and as an evocation of an ineffable divine presence. A masterful rendition of rāga is both a re-enactment of a systematic prescribed formula and a spontaneous flow of consciousness. This study presents these apparent dichotomies to highlight ideological concerns, while simultaneously contextualising philosophical idealism in relation to pragmatic realities. A central paradigm is the manner in which pragmatic concerns are elevated in status and given spiritual significance. The dissertation begins with a view into historical and religious context. The discussion continues with a speculative investigation positing co-relations between Hindustāni music and central tenets of Indian philosophy, considering how rāga improvisation may manifest as a philosophy of sound. The study then explores the concept of rāga, a modal and conceptual construct that forms the heart of Indian classical music. The final three sections ground the subject of spiritual ideology within the life experience of Hindustāni musicians: ‘Transmission’ looks at the learning and enculturation process, which encapsulates values intrinsic to the ethos of Hindustāni music culture. ‘Practice’ explores the discipline, science and experience of musical practice, revealing core ideological concerns connecting spirituality to musical experience; and ‘Performance’ examines the live presentation of rāga improvisation, and the relationship between music as ‘entertainment’ and music as ‘devotion’. Both ethnographic and musicological, this research is the culmination of various fieldtrips to India, extensive interviews with Hindustāni musicians, fifteen year’s sitār training, and the study of relevant musicological and philosophical texts.