Epilogue

Abstract This chapter completes the circle by re-collecting the threads of argument introduced in the Introductory chapter and elaborated upon in the subsequent ones. Further, it briefly comments on the implications of these ideas for our twenty-first-century existence and the aesthetic and political relevance of Tagore’s musical and musicological output in this culture. Engaging with the reality of the crises in the culture of dissemination and reception of Tagore’s music among others in our habitus, this final chapter comments also on the limits of Tagore’s musical modernity. The museumization of this music alongside others including dhrupad and Bangla Gān, it argues, is symptomatic of certain crises in the Indian postcolonial modernity.