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When an Englishwoman Transcribed a Mughal Courtesan’s Songs into Western Notation

An Englishwoman in late eighteenth-century Lucknow wrote down songs performed by the courtesan Khanum Jan, and they reached print as the Hindustani Airs in Calcutta in 1789. Here is how that chain worked and what it leaves uncertain.
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Sophia Elizabeth Plowden, an Englishwoman living in India, heard songs performed by the courtesan and singer Khanum Jan, wrote them down in European musical notation, and later saw them arranged for harpsichord by William Hamilton Bird. The arrangements were published in Calcutta in 1789 as Hindustani Airs. The chain runs from a live performance in late eighteenth-century Lucknow, to a diary entry, to a printed European-style collection, and each link changed the music in a different way.

Who was involved

Sophia Elizabeth Plowden

Plowden lived in India with her husband, Richard Chicheley Plowden, an officer of the East India Company. The couple were resident in India from 1777 to 1790, moving between Calcutta and Lucknow. Plowden had ten children. Her surviving papers include diaries, letters and music-related material, and she collected and performed Persian and Hindustani songs in her own circle.

Khanum Jan

Khanum Jan was a prominent courtesan and singer associated with Kanpur and with the court of Lucknow in the 1780s. Her name survives mainly through European sources that recorded her performances and the songs connected with them. Few details of her life beyond her musical work are documented in the sources available for this story, so this article does not attempt a fuller biography.

The Lucknow setting

Nawab Asafuddaula ruled Lucknow from 1775 to 1797. The Plowdens’ time there falls within his reign, and the episode belongs to what can be called late Mughal and early colonial North India: a court culture in which Mughal-era traditions continued while British commercial and administrative power grew around it.

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The gatherings where Khanum Jan performed were what the sources describe as nautch. The word, as used in the historical accounts, refers to musical gatherings at which high-status North Indian courtesans sang, danced, recited poetry and conversed with their guests. It does not mean all Indian performance traditions, and it should not be used that way. The setting matters because the songs were not concert pieces produced for publication. They belonged to an social occasion among patrons, and their meaning depended on that context.

How the songs were written down

Plowden’s diary entry for 23 December 1787 records her first encounter with Khanum Jan. The documented relationship is primarily musical. Plowden listened to songs performed at these gatherings and transcribed them in European notation. The sources do not reproduce private conversations between the two women, and this article does not reconstruct any.

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Notation is a translation. European staff notation was built around a different system of pitch and rhythm from the one used in North Indian vocal music, so it can record only part of how a line was sung. Decisions about how to write a phrase, which pitches to fix, and how to handle rhythm were made by Plowden, which means the notated song already reflects her ears and her choices.

Bird’s arrangements and Hindustani Airs

William Hamilton Bird arranged the transcribed airs for harpsichord, adding harmony in the European manner. The collection was published in Calcutta in 1789 and circulated under the title Hindustani Airs. Bird’s harmonised arrangements are a third layer of mediation: they turned melodies that had been sung in a court performance into keyboard pieces suited to European domestic music.

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The three stages are related records of the same musical material, not interchangeable versions of one event. The table below sets out what each one can and cannot show.

Stage Date and place Who made it What it preserves What it cannot show
Live performance Lucknow court gatherings, 1780s Khanum Jan and the musicians and audience at the gathering The sound, delivery and social setting of the songs as performed No direct recording exists; the sound cannot be recovered exactly
Plowden’s notation and papers Diary entry of 23 December 1787; papers held in British Library India Office collections and Fitzwilliam Museum MS 380 Sophia Elizabeth Plowden Melodic lines in European notation, plus lyrics in Persian, Urdu (then called rekhta), Punjabi and other Indian languages Ornament, vocal timbre and the full improvisatory shape of a performance
Bird’s harpsichord arrangements Published in Calcutta, 1789, as Hindustani Airs William Hamilton Bird Harmonised keyboard versions suited to European domestic performance The original vocal line, its text and the setting in which it was sung

What survives and how it has been studied

Plowden’s papers in the British Library’s India Office collections include diaries, letters and music-related material. Fitzwilliam Museum MS 380 holds lyric folios with song texts in Persian, Urdu (rekhta), Punjabi and other Indian languages. Reading these lyrics alongside the European papers and notation is what makes the collection more than a set of printed tunes.

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Katherine Butler Schofield has done much of this work. In her account of the Lucknow songs, she reports having reconnected about a quarter of the loose lyric folios with their corresponding material. That figure refers only to the loose folios she was able to match in her study. It does not describe the share of all Plowden’s papers or all surviving songs, and it should not be read as a measure of the collection as a whole.

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Can the Lucknow songs be reconstructed?

Schofield’s argument is that Indian-language song texts, read alongside the European papers and notations, bring researchers closer to how the Lucknow songs may have sounded. This is a scholarly reconstruction built from several kinds of evidence. It is not a recovery of a historical performance. The lyrics show what was sung; the notation shows some of how it was heard by one European listener; Bird’s arrangement shows how one European musician adapted it. None of these lets a present-day listener hear the original gathering with certainty.

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Reading the episode without simplifying it

There are two easy readings of this story. One treats it as cultural appropriation, with a European transcribing and publishing music taken from a courtesan’s performance. The other treats it as a harmonious meeting of cultures. The evidence supports neither reading fully. European notation and harmonisation did transform the music, and the printed collection reflects choices made by Plowden and Bird. At the same time, the Indian-language texts and the accounts of Indian musicians and patrons show that the songs had a life of their own, shaped by people who are not reducible to the notator.

Schofield’s own assessment is careful: “These suggest that the episode was more complex, mutually enjoyable, and less morally certain.” This is her interpretation of the evidence, not a statement made by Plowden or Khanum Jan.

Further reading and listening

  • Katherine Butler Schofield, Music and Musicians in Late Mughal India: Histories of the Ephemeral, 1748–1858 (Cambridge University Press, 2023). The book includes a chapter on Khanum Jan and Sophia Plowden and is the most direct scholarly route into the material discussed here.
  • King’s College London has a record of a discussion and performance involving harpsichordist Jane Chapman and the Hindustani Airs. The record describes the event; it does not confirm that a recording is currently available. Check current catalogues before seeking one out.

The surviving evidence makes this a story about mediation as much as about music. A diary entry, a set of lyric folios and a Calcutta publication each preserve something real, and each leaves something out.

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