2015, ISBN: 9788124608067

Delhi, India: Bharatiya Vidya Prakashan, 1991. Present Book consists of research papers in the field of Moral and Aesthetic values with Indian and Western approaches. It has three parts. … Mehr…

Delhi, India: Bharatiya Vidya Prakashan, 1991. Present Book consists of research papers in the field of Moral and Aesthetic values with Indian and Western approaches. It has three parts. In the first part there are papers devoted to 'Indian Approach to Values'. The second part is concerned with 'Western approach to Values'. The third part is related with certain critical observations on these articles. The range of the subject is very wide and these articles cover up topics such as Indian theory of Rasa, the Ehics of Poorva Mimansa, Art according to Abhinavagupta, Philosophy and Aesthetics, Advaita Vedanta, Raga in Indian Music, relationship between Moral and Aesthetic Values and concept of Beauty in recent Western thought.Art and Beauty do not only relate to objective and material world but they assume subjective and experiential character as they constitute distinct human nature. While dealing with the nature of Beauty it is found that it refers to particular instance of expression on account of which it is not possible to conceptualise beauty. Indian approach, approach to the problem of values seems to be comprehensive as it includes psychological, moral, cultural and reflective perspectives. Western approach as contained in the school of Phenomenology, Analysis, critical and structuralist tendencies has been undertaken in these papers.Arts are diverse and the principle of beauty intends to be unitary and critical. The relationship between ethical and Aesthetic values has been thought in the background of epistemological and axiological nature of pleasant and the Good, instrumental and intrinsic values. The problem of subjectivity and conceptuality are formidable and they are treated with rational acumen. The problem of action in its moral fervour has its prescriptive and meta-ethical dimension in the Context of Indian philosophy. Its value is ritualistic as well as reflective. Its dynamism has unique significance for self-discipline and self-knowledge.Printed Pages: 367.. Hardcover. New/New., Bharatiya Vidya Prakashan, 1991, 6, Munshiram Manoharlal Publishers Pvt. Ltd, 2014. 5th or later edition. Hardcover. New. 15 x 23 cm. A Historical Study of Indian Music covers a wide range from the earliest historical traces of our music to the present day. At a time most historical studies degenerated into a mixture of pseudo-legendary and mythology with large doses of sentimentality and platitudes, but Swami Prajnanananda`s scholarly approach is like a breath of fresh air. The learned author starts with Vedic music, Gandharva music and ends with the Rabindra Sangit and Rabindranath Tagore`s own theories. And apart from detailed and scientific analysis of music of every type of every age, he has explored practically every relevant field‰ÛÓancient musical instruments, the nature of Indian and Western orchestra, and the chorus in ancient India, the septatantri-Veena in the Buddhist Caves, the concept of Raga, Aryan and non-Aryan theories, the origin and developments of Dhrupad, Kheyal, Bengali songs along with other musical types. The author has examined the close relationship that exists between music and dance and has thrown sufficient light on the problems of Acoustics, Aesthetics, both Indian and Western Psychology, Philosophy and Iconography of Indian music. The author has added four informative Appendices which will solve many knotty problems of music, both Indian and Western. The book is, therefore, a compendium and indispensable volume for the seekers of knowledge and experience. Printed Pages: 444., Munshiram Manoharlal Publishers Pvt. Ltd, 2014, 6, Munshiram Manoharlal Publishers Pvt. Ltd., 2014. Reprinted. Hardcover. New. 15 x 23. A Historical Study of Indian Music covers a wide range from the earliest historical traces of our music to the present day. At a time most historical studies degenerated into a mixture of pseudo-legendary and mythology with large doses of sentimentality and platitudes, but Swami Prajnanananda's scholarly approach is like a breath of fresh air. The learned author starts with Vedic music, Gandharva music and ends with the Rabindra Sangit and Rabindranath Tagore's own theories. And apart from detailed and scientific analysis of music of every type of every age, he has explored practically every relevant fieldancient musical instruments, the nature of Indian and Western orchestra, and the chorus in ancient India, the septatantri-Veena in the Buddhist Caves, the concept of Raga, Aryan and non-Aryan theories, the origin and developments of Dhrupad, Kheyal, Bengali songs along with other musical types. The author has examined the close relationship that exists between music and dance and has thrown sufficient light on the problems of Acoustics, Aesthetics, both Indian and Western Psychology, Philosophy and Iconography of Indian music. The author has added four informative Appendices which will solve many knotty problems of music, both Indian and Western. The book is, therefore, a compendium and indispensable volume for the seekers of knowledge and experience. A Historical Study of Indian Music Swami Prajnanananda Music, Dance, Theatre & Cinema, Munshiram Manoharlal Publishers Pvt. Ltd., 2014, 6, Munshiram Manoharlal Publishers Pvt. Ltd, 2014. 5th or later edition. Hardcover. New. 15 x 23 cm. A Historical Study of Indian Music covers a wide range from the earliest historical traces of our music to the present day. At a time most historical studies degenerated into a mixture of pseudo-legendary and mythology with large doses of sentimentality and platitudes, but Swami Prajnanananda`s scholarly approach is like a breath of fresh air. The learned author starts with Vedic music, Gandharva music and ends with the Rabindra Sangit and Rabindranath Tagore`s own theories. And apart from detailed and scientific analysis of music of every type of every age, he has explored practically every relevant fieldancient musical instruments, the nature of Indian and Western orchestra, and the chorus in ancient India, the septatantri-Veena in the Buddhist Caves, the concept of Raga, Aryan and non-Aryan theories, the origin and developments of Dhrupad, Kheyal, Bengali songs along with other musical types. The author has examined the close relationship that exists between music and dance and has thrown sufficient light on the problems of Acoustics, Aesthetics, both Indian and Western Psychology, Philosophy and Iconography of Indian music. The author has added four informative Appendices which will solve many knotty problems of music, both Indian and Western. The book is, therefore, a compendium and indispensable volume for the seekers of knowledge and experience. Printed Pages: 444. NA, Munshiram Manoharlal Publishers Pvt. Ltd, 2014, 6, Munshiram Manoharlal Publishers Pvt. Ltd, 2014. 5th or later edition. Hardcover. New. 15 x 23 cm. A Historical Study of Indian Music covers a wide range from the earliest historical traces of our music to the present day. At a time most historical studies degenerated into a mixture of pseudo-legendary and mythology with large doses of sentimentality and platitudes, but Swami Prajnanananda`s scholarly approach is like a breath of fresh air. The learned author starts with Vedic music, Gandharva music and ends with the Rabindra Sangit and Rabindranath Tagore`s own theories. And apart from detailed and scientific analysis of music of every type of every age, he has explored practically every relevant field‰ÛÓancient musical instruments, the nature of Indian and Western orchestra, and the chorus in ancient India, the septatantri-Veena in the Buddhist Caves, the concept of Raga, Aryan and non-Aryan theories, the origin and developments of Dhrupad, Kheyal, Bengali songs along with other musical types. The author has examined the close relationship that exists between music and dance and has thrown sufficient light on the problems of Acoustics, Aesthetics, both Indian and Western Psychology, Philosophy and Iconography of Indian music. The author has added four informative Appendices which will solve many knotty problems of music, both Indian and Western. The book is, therefore, a compendium and indispensable volume for the seekers of knowledge and experience. Printed Pages: 444., Munshiram Manoharlal Publishers Pvt. Ltd, 2014, 6, Munshiram Manoharlal Publishers Pvt. Ltd, 2014. 5th or later edition. Hardcover. New. 15 x 23 cm. A Historical Study of Indian Music covers a wide range from the earliest historical traces of our music to the present day. At a time most historical studies degenerated into a mixture of pseudo-legendary and mythology with large doses of sentimentality and platitudes, but Swami Prajnanananda`s scholarly approach is like a breath of fresh air. The learned author starts with Vedic music, Gandharva music and ends with the Rabindra Sangit and Rabindranath Tagore`s own theories. And apart from detailed and scientific analysis of music of every type of every age, he has explored practically every relevant field‰ÛÓancient musical instruments, the nature of Indian and Western orchestra, and the chorus in ancient India, the septatantri-Veena in the Buddhist Caves, the concept of Raga, Aryan and non-Aryan theories, the origin and developments of Dhrupad, Kheyal, Bengali songs along with other musical types. The author has examined the close relationship that exists between music and dance and has thrown sufficient light on the problems of Acoustics, Aesthetics, both Indian and Western Psychology, Philosophy and Iconography of Indian music. The author has added four informative Appendices which will solve many knotty problems of music, both Indian and Western. The book is, therefore, a compendium and indispensable volume for the seekers of knowledge and experience. Printed Pages: 444., Munshiram Manoharlal Publishers Pvt. Ltd, 2014, 6, Munshiram Manoharlal Publishers Pvt. Ltd, 2014. 5th or later edition. Hardcover. New. 15 x 23 cm. A Historical Study of Indian Music covers a wide range from the earliest historical traces of our music to the present day. At a time most historical studies degenerated into a mixture of pseudo-legendary and mythology with large doses of sentimentality and platitudes, but Swami Prajnanananda`s scholarly approach is like a breath of fresh air. The learned author starts with Vedic music, Gandharva music and ends with the Rabindra Sangit and Rabindranath Tagore`s own theories. And apart from detailed and scientific analysis of music of every type of every age, he has explored practically every relevant field‰ÛÓancient musical instruments, the nature of Indian and Western orchestra, and the chorus in ancient India, the septatantri-Veena in the Buddhist Caves, the concept of Raga, Aryan and non-Aryan theories, the origin and developments of Dhrupad, Kheyal, Bengali songs along with other musical types. The author has examined the close relationship that exists between music and dance and has thrown sufficient light on the problems of Acoustics, Aesthetics, both Indian and Western Psychology, Philosophy and Iconography of Indian music. The author has added four informative Appendices which will solve many knotty problems of music, both Indian and Western. The book is, therefore, a compendium and indispensable volume for the seekers of knowledge and experience. Printed Pages: 444., Munshiram Manoharlal Publishers Pvt. Ltd, 2014, 6, Munshiram Manoharlal Publishers Pvt. Ltd. , 2014. Reprinted. Hardcover. New. 15 x 23. A Historical Study of Indian Music covers a wide range from the earliest historical traces of our music to the present day. At a time most historical studies degenerated into a mixture of pseudo-legendary and mythology with large doses of sentimentality and platitudes, but Swami Prajnanananda's scholarly approach is like a breath of fresh air. The learned author starts with Vedic music, Gandharva music and ends with the Rabindra Sangit and Rabindranath Tagore's own theories. And apart from detailed and scientific analysis of music of every type of every age, he has explored practically every relevant field—ancient musical instruments, the nature of Indian and Western orchestra, and the chorus in ancient India, the septatantri-Veena in the Buddhist Caves, the concept of Raga, Aryan and non-Aryan theories, the origin and developments of Dhrupad, Kheyal, Bengali songs along with other musical types. The author has examined the close relationship that exists between music and dance and has thrown sufficient light on the problems of Acoustics, Aesthetics, both Indian and Western Psychology, Philosophy and Iconography of Indian music. The author has added four informative Appendices which will solve many knotty problems of music, both Indian and Western. The book is, therefore, a compendium and indispensable volume for the seekers of knowledge and experience., Munshiram Manoharlal Publishers Pvt. Ltd. , 2014, 6, Munshiram Manoharlal Publishers Pvt. Ltd. , 2014. Reprinted. Hardcover. New. 15 x 23. A Historical Study of Indian Music covers a wide range from the earliest historical traces of our music to the present day. At a time most historical studies degenerated into a mixture of pseudo-legendary and mythology with large doses of sentimentality and platitudes, but Swami Prajnanananda's scholarly approach is like a breath of fresh air. The learned author starts with Vedic music, Gandharva music and ends with the Rabindra Sangit and Rabindranath Tagore's own theories. And apart from detailed and scientific analysis of music of every type of every age, he has explored practically every relevant field—ancient musical instruments, the nature of Indian and Western orchestra, and the chorus in ancient India, the septatantri-Veena in the Buddhist Caves, the concept of Raga, Aryan and non-Aryan theories, the origin and developments of Dhrupad, Kheyal, Bengali songs along with other musical types. The author has examined the close relationship that exists between music and dance and has thrown sufficient light on the problems of Acoustics, Aesthetics, both Indian and Western Psychology, Philosophy and Iconography of Indian music. The author has added four informative Appendices which will solve many knotty problems of music, both Indian and Western. The book is, therefore, a compendium and indispensable volume for the seekers of knowledge and experience., Munshiram Manoharlal Publishers Pvt. Ltd. , 2014, 6, Munshiram Manoharlal Publishers Pvt. Ltd, 2014. 5th or later edition. Hardcover. New. 15 x 23 cm. A Historical Study of Indian Music covers a wide range from the earliest historical traces of our music to the present day. At a time most historical studies degenerated into a mixture of pseudo-legendary and mythology with large doses of sentimentality and platitudes, but Swami Prajnanananda`s scholarly approach is like a breath of fresh air. The learned author starts with Vedic music, Gandharva music and ends with the Rabindra Sangit and Rabindranath Tagore`s own theories. And apart from detailed and scientific analysis of music of every type of every age, he has explored practically every relevant field‰ÛÓancient musical instruments, the nature of Indian and Western orchestra, and the chorus in ancient India, the septatantri-Veena in the Buddhist Caves, the concept of Raga, Aryan and non-Aryan theories, the origin and developments of Dhrupad, Kheyal, Bengali songs along with other musical types. The author has examined the close relationship that exists between music and dance and has thrown sufficient light on the problems of Acoustics, Aesthetics, both Indian and Western Psychology, Philosophy and Iconography of Indian music. The author has added four informative Appendices which will solve many knotty problems of music, both Indian and Western. The book is, therefore, a compendium and indispensable volume for the seekers of knowledge and experience. Printed Pages: 444., Munshiram Manoharlal Publishers Pvt. Ltd, 2014, 6, Munshiram Manoharlal Publishers Pvt. Ltd. , 2014. Reprinted. Hardcover. New. 15 x 23. A Historical Study of Indian Music covers a wide range from the earliest historical traces of our music to the present day. At a time most historical studies degenerated into a mixture of pseudo-legendary and mythology with large doses of sentimentality and platitudes, but Swami Prajnanananda's scholarly approach is like a breath of fresh air. The learned author starts with Vedic music, Gandharva music and ends with the Rabindra Sangit and Rabindranath Tagore's own theories. And apart from detailed and scientific analysis of music of every type of every age, he has explored practically every relevant field—ancient musical instruments, the nature of Indian and Western orchestra, and the chorus in ancient India, the septatantri-Veena in the Buddhist Caves, the concept of Raga, Aryan and non-Aryan theories, the origin and developments of Dhrupad, Kheyal, Bengali songs along with other musical types. The author has examined the close relationship that exists between music and dance and has thrown sufficient light on the problems of Acoustics, Aesthetics, both Indian and Western Psychology, Philosophy and Iconography of Indian music. The author has added four informative Appendices which will solve many knotty problems of music, both Indian and Western. The book is, therefore, a compendium and indispensable volume for the seekers of knowledge and experience., Munshiram Manoharlal Publishers Pvt. Ltd. , 2014, 6, Munshiram Manoharlal Publishers Pvt. Ltd, 2014. 5th or later edition. Hardcover. New. 15 x 23 cm. A Historical Study of Indian Music covers a wide range from the earliest historical traces of our music to the present day. At a time most historical studies degenerated into a mixture of pseudo-legendary and mythology with large doses of sentimentality and platitudes, but Swami Prajnanananda`s scholarly approach is like a breath of fresh air. The learned author starts with Vedic music, Gandharva music and ends with the Rabindra Sangit and Rabindranath Tagore`s own theories. And apart from detailed and scientific analysis of music of every type of every age, he has explored practically every relevant fieldancient musical instruments, the nature of Indian and Western orchestra, and the chorus in ancient India, the septatantri-Veena in the Buddhist Caves, the concept of Raga, Aryan and non-Aryan theories, the origin and developments of Dhrupad, Kheyal, Bengali songs along with other musical types. The author has examined the close relationship that exists between music and dance and has thrown sufficient light on the problems of Acoustics, Aesthetics, both Indian and Western Psychology, Philosophy and Iconography of Indian music. The author has added four informative Appendices which will solve many knotty problems of music, both Indian and Western. The book is, therefore, a compendium and indispensable volume for the seekers of knowledge and experience. Printed Pages: 444. NA, Munshiram Manoharlal Publishers Pvt. Ltd, 2014, 6, Munshiram Manoharlal Publishers Pvt. Ltd, 2014. 5th or later edition. Hardcover. New. 15 x 23 cm. A Historical Study of Indian Music covers a wide range from the earliest historical traces of our music to the present day. At a time most historical studies degenerated into a mixture of pseudo-legendary and mythology with large doses of sentimentality and platitudes, but Swami Prajnanananda`s scholarly approach is like a breath of fresh air. The learned author starts with Vedic music, Gandharva music and ends with the Rabindra Sangit and Rabindranath Tagore`s own theories. And apart from detailed and scientific analysis of music of every type of every age, he has explored practically every relevant field‰ÛÓancient musical instruments, the nature of Indian and Western orchestra, and the chorus in ancient India, the septatantri-Veena in the Buddhist Caves, the concept of Raga, Aryan and non-Aryan theories, the origin and developments of Dhrupad, Kheyal, Bengali songs along with other musical types. The author has examined the close relationship that exists between music and dance and has thrown sufficient light on the problems of Acoustics, Aesthetics, both Indian and Western Psychology, Philosophy and Iconography of Indian music. The author has added four informative Appendices which will solve many knotty problems of music, both Indian and Western. The book is, therefore, a compendium and indispensable volume for the seekers of knowledge and experience. Printed Pages: 444., Munshiram Manoharlal Publishers Pvt. Ltd, 2014, 6, D.K. Printworld (P) Ltd., 2015. 3rd edition. Hardcover. New. Hindustani Music: A tradition in transition is a wide-ranging survey of the North Indian tradition of classical music during the post-independence period. Explicitly, this book addresses music lovers of above-average familiarity with Hindustani music, and their curiosity about its inner workings. It is, however, also a valuable reference for scholars and other writers on music. The book is based on the author`s long years of training as a musician, vast experience as an analyst of music, and an observer of the cultural environment. The book is divided into six parts. Part I articulates an Indian perspective on important societal, cultural, economic and technological drivers of Hindustani music. Part II discusses issues pertaining to presentation formats, and the structural and melodic aspects of Hindustani music. Part III deals with the notion of raga-ness, and the world of ragas. Part IV presents comprehensive backgrounders on the four major genres of vocal music -- Dhrupad, Khayal, Thumree, and Tappa. Part V features detailed fact-sheets on eight major melodic instruments of the Hindustani tradition -- Rudra Veena, Sitar, Surbahar, Sarod, Sarangi, Shehnai, Santoor, and the Indian classical (Hawaiian) guitar. Part VI presents a glossary of words in italics, a list of suggested readings, and an index. The book makes complex musicological concepts accessible to non-academic readers, and contributes significantly to widening the understanding of contemporary trends in Hindustani music.Foreword Preface to the Second Edition Preface to the First Edition Acknowledgement Key to Transliteration Prologue Not by Accident Alone The Bigger Picture The Language Issue Issues of Objectivity The Writer`s Role Towards Connoisseur Activism Clarity of Purpose Introduction Part i Culture, Technology and Economics 1.1 Populism and Rival Forces The Emergence of a Market Dimensions of Populism The Conservationist Reaction The Unlikely Ally 1.2 If Peanuts Is What You Pay The Changing Context The Economics The Bottom Line 1.3 Government, Business and Classical Music The Traditional Patronage Model Benefactor Qualifications Reconfiguring Benefaction 1.4 Pandits and Ustads Aplenty! 1.5 Archival Music and the Cultural Process Obsolescence in Recorded Music The Archival Music Market Generations as Markets Continuity and Change The Challenge from the Graveyards The Yardstick of Musicianship The Virtual Guru The Big Picture 1.6 A Requiem for the Gharanas What Is a Gharana? Favourable Conditions The Golden Age of Hindustani Music Chinks in the Armour The Gharana Brands Today part II Form, Idiom and Format 2.1 Architecture in Modern Hindustani Music The Architectural Metaphor Function and Structure The Linearity of Progression The Cyclicity of Melodic Exploration The Econometric Model A Case Study The Duration Factor The Argument 2.2 Instrumental Idioms: Anga or Apanga? Source Material of the Hindustani Tradition Adoption and Adaptation Deviations and Innovations Auchitya in Innovation Auchitya: The Idea 2.3 The Jugalbandi Racket Jugalbandi Patterns The Burden of Evidence Experimentation and Propriety 2.4 Tihais . . . and the Rape of Melody The Logic of Tihais Placement, Function and Aesthetics The Aesthetic and the Grotesque part III The World of Ragas 3.1 The Raga-ness of Ragas The Melodic Grammar of Ragas The Aesthetic Grammar of Ragas Postscript 3.2 Ragas: Right and Wrong Nomenclature Rare Ragas and Their Compounds Creative Licence Raga Evolution Grammatical Prudence The Bottom Line 3.3 Raga Chemistry and Beyond The Allotrope The Compound The Emulsion Chemistry Defines Options The Raga-malika Beyond Chemistry 3.4 Kedar at Sunrise? The Theory Ragas that use the Flat Svars of (Re and Dh [2nd and 6th]) Ragas that use the Shuddha Svars Printed Pages: 518. NA, D.K. Printworld (P) Ltd., 2015, 6<

2015, ISBN: 9788124608067

D.K. Printworld (P) Ltd., 2015. 3rd edition. Hardcover. New. Hindustani Music: A tradition in transition is a wide-ranging survey of the North Indian tradition of classical music during… Mehr…

D.K. Printworld (P) Ltd., 2015. 3rd edition. Hardcover. New. Hindustani Music: A tradition in transition is a wide-ranging survey of the North Indian tradition of classical music during the post-independence period. Explicitly, this book addresses music lovers of above-average familiarity with Hindustani music, and their curiosity about its inner workings. It is, however, also a valuable reference for scholars and other writers on music. The book is based on the author`s long years of training as a musician, vast experience as an analyst of music, and an observer of the cultural environment. The book is divided into six parts. Part I articulates an Indian perspective on important societal, cultural, economic and technological drivers of Hindustani music. Part II discusses issues pertaining to presentation formats, and the structural and melodic aspects of Hindustani music. Part III deals with the notion of raga-ness, and the world of ragas. Part IV presents comprehensive backgrounders on the four major genres of vocal music -- Dhrupad, Khayal, Thumree, and Tappa. Part V features detailed fact-sheets on eight major melodic instruments of the Hindustani tradition -- Rudra Veena, Sitar, Surbahar, Sarod, Sarangi, Shehnai, Santoor, and the Indian classical (Hawaiian) guitar. Part VI presents a glossary of words in italics, a list of suggested readings, and an index. The book makes complex musicological concepts accessible to non-academic readers, and contributes significantly to widening the understanding of contemporary trends in Hindustani music.Foreword Preface to the Second Edition Preface to the First Edition Acknowledgement Key to Transliteration Prologue Not by Accident Alone The Bigger Picture The Language Issue Issues of Objectivity The Writer`s Role Towards Connoisseur Activism Clarity of Purpose Introduction Part i Culture, Technology and Economics 1.1 Populism and Rival Forces The Emergence of a Market Dimensions of Populism The Conservationist Reaction The Unlikely Ally 1.2 If Peanuts Is What You Pay The Changing Context The Economics The Bottom Line 1.3 Government, Business and Classical Music The Traditional Patronage Model Benefactor Qualifications Reconfiguring Benefaction 1.4 Pandits and Ustads Aplenty! 1.5 Archival Music and the Cultural Process Obsolescence in Recorded Music The Archival Music Market Generations as ‰ÛÏMarkets‰Û Continuity and Change The Challenge from the Graveyards The Yardstick of Musicianship The ‰ÛÏVirtual Guru‰Û The Big Picture 1.6 A Requiem for the Gharanas What Is a Gharana? Favourable Conditions The Golden Age of Hindustani Music Chinks in the Armour The Gharana ‰ÛÏBrands‰Û Today part II Form, Idiom and Format 2.1 Architecture in Modern Hindustani Music The Architectural Metaphor Function and Structure The Linearity of Progression The Cyclicity of Melodic Exploration The Econometric Model A Case Study The Duration Factor The Argument 2.2 Instrumental Idioms: Anga or Apanga? Source Material of the Hindustani Tradition Adoption and Adaptation Deviations and Innovations Auchitya in Innovation Auchitya: The Idea 2.3 The Jugalbandi Racket Jugalbandi Patterns The Burden of Evidence Experimentation and Propriety 2.4 Tihais . . . and the Rape of Melody The Logic of Tihais Placement, Function and Aesthetics The Aesthetic and the Grotesque part III The World of Ragas 3.1 The Raga-ness of Ragas The Melodic Grammar of Ragas The Aesthetic Grammar of Ragas Postscript 3.2 Ragas: Right and Wrong Nomenclature Rare Ragas and Their Compounds Creative Licence Raga Evolution Grammatical Prudence The Bottom Line 3.3 Raga Chemistry and Beyond The Allotrope The Compound The Emulsion Chemistry Defines Options The Raga-malika Beyond Chemistry 3.4 Kedar at Sunrise? The Theory Ragas that use the Flat Svars of (Re and Dh [2nd and 6th]) Ragas that use the Shuddha Svars Printed Pages: 518., D.K. Printworld (P) Ltd., 2015, 6<

2015, ISBN: 9788124608067

D.K. Printworld (P) Ltd., 2015. 3rd edition. Hardcover. New. Hindustani Music: A tradition in transition is a wide-ranging survey of the North Indian tradition of classical music during… Mehr…

D.K. Printworld (P) Ltd., 2015. 3rd edition. Hardcover. New. Hindustani Music: A tradition in transition is a wide-ranging survey of the North Indian tradition of classical music during the post-independence period. Explicitly, this book addresses music lovers of above-average familiarity with Hindustani music, and their curiosity about its inner workings. It is, however, also a valuable reference for scholars and other writers on music. The book is based on the author`s long years of training as a musician, vast experience as an analyst of music, and an observer of the cultural environment. The book is divided into six parts. Part I articulates an Indian perspective on important societal, cultural, economic and technological drivers of Hindustani music. Part II discusses issues pertaining to presentation formats, and the structural and melodic aspects of Hindustani music. Part III deals with the notion of raga-ness, and the world of ragas. Part IV presents comprehensive backgrounders on the four major genres of vocal music -- Dhrupad, Khayal, Thumree, and Tappa. Part V features detailed fact-sheets on eight major melodic instruments of the Hindustani tradition -- Rudra Veena, Sitar, Surbahar, Sarod, Sarangi, Shehnai, Santoor, and the Indian classical (Hawaiian) guitar. Part VI presents a glossary of words in italics, a list of suggested readings, and an index. The book makes complex musicological concepts accessible to non-academic readers, and contributes significantly to widening the understanding of contemporary trends in Hindustani music.Foreword Preface to the Second Edition Preface to the First Edition Acknowledgement Key to Transliteration Prologue Not by Accident Alone The Bigger Picture The Language Issue Issues of Objectivity The Writer`s Role Towards Connoisseur Activism Clarity of Purpose Introduction Part i Culture, Technology and Economics 1.1 Populism and Rival Forces The Emergence of a Market Dimensions of Populism The Conservationist Reaction The Unlikely Ally 1.2 If Peanuts Is What You Pay The Changing Context The Economics The Bottom Line 1.3 Government, Business and Classical Music The Traditional Patronage Model Benefactor Qualifications Reconfiguring Benefaction 1.4 Pandits and Ustads Aplenty! 1.5 Archival Music and the Cultural Process Obsolescence in Recorded Music The Archival Music Market Generations as “Markets” Continuity and Change The Challenge from the Graveyards The Yardstick of Musicianship The “Virtual Guru” The Big Picture 1.6 A Requiem for the Gharanas What Is a Gharana? Favourable Conditions The Golden Age of Hindustani Music Chinks in the Armour The Gharana “Brands” Today part II Form, Idiom and Format 2.1 Architecture in Modern Hindustani Music The Architectural Metaphor Function and Structure The Linearity of Progression The Cyclicity of Melodic Exploration The Econometric Model A Case Study The Duration Factor The Argument 2.2 Instrumental Idioms: Anga or Apanga? Source Material of the Hindustani Tradition Adoption and Adaptation Deviations and Innovations Auchitya in Innovation Auchitya: The Idea 2.3 The Jugalbandi Racket Jugalbandi Patterns The Burden of Evidence Experimentation and Propriety 2.4 Tihais . . . and the Rape of Melody The Logic of Tihais Placement, Function and Aesthetics The Aesthetic and the Grotesque part III The World of Ragas 3.1 The Raga-ness of Ragas The Melodic Grammar of Ragas The Aesthetic Grammar of Ragas Postscript 3.2 Ragas: Right and Wrong Nomenclature Rare Ragas and Their Compounds Creative Licence Raga Evolution Grammatical Prudence The Bottom Line 3.3 Raga Chemistry and Beyond The Allotrope The Compound The Emulsion Chemistry Defines Options The Raga-malika Beyond Chemistry 3.4 Kedar at Sunrise? The Theory Ragas that use the Flat Svars of (Re and Dh [2nd and 6th]) Ragas that use the Shuddha Svars Printed Pages: 518., D.K. Printworld (P) Ltd., 2015, 6<

2015, ISBN: 9788124608067

D.K. Printworld (P) Ltd., 2015. 3rd edition. Hardcover. New. Hindustani Music: A tradition in transition is a wide-ranging survey of the North Indian tradition of classical music during… Mehr…

D.K. Printworld (P) Ltd., 2015. 3rd edition. Hardcover. New. Hindustani Music: A tradition in transition is a wide-ranging survey of the North Indian tradition of classical music during the post-independence period. Explicitly, this book addresses music lovers of above-average familiarity with Hindustani music, and their curiosity about its inner workings. It is, however, also a valuable reference for scholars and other writers on music. The book is based on the author`s long years of training as a musician, vast experience as an analyst of music, and an observer of the cultural environment. The book is divided into six parts. Part I articulates an Indian perspective on important societal, cultural, economic and technological drivers of Hindustani music. Part II discusses issues pertaining to presentation formats, and the structural and melodic aspects of Hindustani music. Part III deals with the notion of raga-ness, and the world of ragas. Part IV presents comprehensive backgrounders on the four major genres of vocal music -- Dhrupad, Khayal, Thumree, and Tappa. Part V features detailed fact-sheets on eight major melodic instruments of the Hindustani tradition -- Rudra Veena, Sitar, Surbahar, Sarod, Sarangi, Shehnai, Santoor, and the Indian classical (Hawaiian) guitar. Part VI presents a glossary of words in italics, a list of suggested readings, and an index. The book makes complex musicological concepts accessible to non-academic readers, and contributes significantly to widening the understanding of contemporary trends in Hindustani music.Foreword Preface to the Second Edition Preface to the First Edition Acknowledgement Key to Transliteration Prologue Not by Accident Alone The Bigger Picture The Language Issue Issues of Objectivity The Writer`s Role Towards Connoisseur Activism Clarity of Purpose Introduction Part i Culture, Technology and Economics 1.1 Populism and Rival Forces The Emergence of a Market Dimensions of Populism The Conservationist Reaction The Unlikely Ally 1.2 If Peanuts Is What You Pay The Changing Context The Economics The Bottom Line 1.3 Government, Business and Classical Music The Traditional Patronage Model Benefactor Qualifications Reconfiguring Benefaction 1.4 Pandits and Ustads Aplenty! 1.5 Archival Music and the Cultural Process Obsolescence in Recorded Music The Archival Music Market Generations as ‰ÛÏMarkets‰Û Continuity and Change The Challenge from the Graveyards The Yardstick of Musicianship The ‰ÛÏVirtual Guru‰Û The Big Picture 1.6 A Requiem for the Gharanas What Is a Gharana? Favourable Conditions The Golden Age of Hindustani Music Chinks in the Armour The Gharana ‰ÛÏBrands‰Û Today part II Form, Idiom and Format 2.1 Architecture in Modern Hindustani Music The Architectural Metaphor Function and Structure The Linearity of Progression The Cyclicity of Melodic Exploration The Econometric Model A Case Study The Duration Factor The Argument 2.2 Instrumental Idioms: Anga or Apanga? Source Material of the Hindustani Tradition Adoption and Adaptation Deviations and Innovations Auchitya in Innovation Auchitya: The Idea 2.3 The Jugalbandi Racket Jugalbandi Patterns The Burden of Evidence Experimentation and Propriety 2.4 Tihais . . . and the Rape of Melody The Logic of Tihais Placement, Function and Aesthetics The Aesthetic and the Grotesque part III The World of Ragas 3.1 The Raga-ness of Ragas The Melodic Grammar of Ragas The Aesthetic Grammar of Ragas Postscript 3.2 Ragas: Right and Wrong Nomenclature Rare Ragas and Their Compounds Creative Licence Raga Evolution Grammatical Prudence The Bottom Line 3.3 Raga Chemistry and Beyond The Allotrope The Compound The Emulsion Chemistry Defines Options The Raga-malika Beyond Chemistry 3.4 Kedar at Sunrise? The Theory Ragas that use the Flat Svars of (Re and Dh [2nd and 6th]) Ragas that use the Shuddha Svars Printed Pages: 518., D.K. Printworld (P) Ltd., 2015, 6<

2015, ISBN: 9788124608067

D.K. Printworld (P) Ltd., 2015. 3rd edition. Hardcover. New. Hindustani Music: A tradition in transition is a wide-ranging survey of the North Indian tradition of classical music during… Mehr…

D.K. Printworld (P) Ltd., 2015. 3rd edition. Hardcover. New. Hindustani Music: A tradition in transition is a wide-ranging survey of the North Indian tradition of classical music during the post-independence period. Explicitly, this book addresses music lovers of above-average familiarity with Hindustani music, and their curiosity about its inner workings. It is, however, also a valuable reference for scholars and other writers on music. The book is based on the author`s long years of training as a musician, vast experience as an analyst of music, and an observer of the cultural environment. The book is divided into six parts. Part I articulates an Indian perspective on important societal, cultural, economic and technological drivers of Hindustani music. Part II discusses issues pertaining to presentation formats, and the structural and melodic aspects of Hindustani music. Part III deals with the notion of raga-ness, and the world of ragas. Part IV presents comprehensive backgrounders on the four major genres of vocal music -- Dhrupad, Khayal, Thumree, and Tappa. Part V features detailed fact-sheets on eight major melodic instruments of the Hindustani tradition -- Rudra Veena, Sitar, Surbahar, Sarod, Sarangi, Shehnai, Santoor, and the Indian classical (Hawaiian) guitar. Part VI presents a glossary of words in italics, a list of suggested readings, and an index. The book makes complex musicological concepts accessible to non-academic readers, and contributes significantly to widening the understanding of contemporary trends in Hindustani music.Foreword Preface to the Second Edition Preface to the First Edition Acknowledgement Key to Transliteration Prologue Not by Accident Alone The Bigger Picture The Language Issue Issues of Objectivity The Writer`s Role Towards Connoisseur Activism Clarity of Purpose Introduction Part i Culture, Technology and Economics 1.1 Populism and Rival Forces The Emergence of a Market Dimensions of Populism The Conservationist Reaction The Unlikely Ally 1.2 If Peanuts Is What You Pay The Changing Context The Economics The Bottom Line 1.3 Government, Business and Classical Music The Traditional Patronage Model Benefactor Qualifications Reconfiguring Benefaction 1.4 Pandits and Ustads Aplenty! 1.5 Archival Music and the Cultural Process Obsolescence in Recorded Music The Archival Music Market Generations as Markets Continuity and Change The Challenge from the Graveyards The Yardstick of Musicianship The Virtual Guru The Big Picture 1.6 A Requiem for the Gharanas What Is a Gharana? Favourable Conditions The Golden Age of Hindustani Music Chinks in the Armour The Gharana Brands Today part II Form, Idiom and Format 2.1 Architecture in Modern Hindustani Music The Architectural Metaphor Function and Structure The Linearity of Progression The Cyclicity of Melodic Exploration The Econometric Model A Case Study The Duration Factor The Argument 2.2 Instrumental Idioms: Anga or Apanga? Source Material of the Hindustani Tradition Adoption and Adaptation Deviations and Innovations Auchitya in Innovation Auchitya: The Idea 2.3 The Jugalbandi Racket Jugalbandi Patterns The Burden of Evidence Experimentation and Propriety 2.4 Tihais . . . and the Rape of Melody The Logic of Tihais Placement, Function and Aesthetics The Aesthetic and the Grotesque part III The World of Ragas 3.1 The Raga-ness of Ragas The Melodic Grammar of Ragas The Aesthetic Grammar of Ragas Postscript 3.2 Ragas: Right and Wrong Nomenclature Rare Ragas and Their Compounds Creative Licence Raga Evolution Grammatical Prudence The Bottom Line 3.3 Raga Chemistry and Beyond The Allotrope The Compound The Emulsion Chemistry Defines Options The Raga-malika Beyond Chemistry 3.4 Kedar at Sunrise? The Theory Ragas that use the Flat Svars of (Re and Dh [2nd and 6th]) Ragas that use the Shuddha Svars Printed Pages: 518. NA, D.K. Printworld (P) Ltd., 2015, 6<