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In Indian context.
The book entitled “Aesthetics of Indian Music” is written by Dr. Madhur Lata Bhatnagar. This book deals with traits of beauty in Indian Music as enshrined in the scriptures. Nad, Shruti, Swar, Gram, Moorchchhana, Raga, Tal etc. terms have been discussed with aesthetic approach. The adornment of singing and instrument playing using Gamak(s), Sthaya(s), etc. have been discussed with the angle – as used or to be used in present day music. The rules underlying the compositions are also discussed upon. Various types of compositions which are prevalent today are minutely focused upon to enhance their beauty. The use of good lyrics in the making of compositions has been stressed upon. Traits of artistes, accompanists are also described. Attributes and attitude of the music listeners are also told important to enjoy music better. Aesthetic experience through music and its spiritual aspect is also mentioned importantly. Some suggestions are also given to use music for social messages. In view of modern technology the preservation of music in Audio/Video recordings is also told significant for true and fine development of music deeply and widely. This book is referable in music departments of higher education, so is useful for teachers and scholars as well.
This work aims to address the historical development of the great Indian raga tradition, enhanced by computational approaches, and to use computational strategies to analyze aspects of contemporary Hindustani classical music (HCM). It is divided into two parts with Part 1 focusing on the history and aesthetics of HCM and Part 2 covering its computational aspects. The historical development of HCM in the ancient, medieval and modern periods; its terms and genre; and its Khayal gharanas are covered in Part 1. The subtopics include essential concepts such as raga, tala, shruti, thaat, gharana, khayal, dhrupad, thumri, tappa, etc. Part 2 covers the state-of-the-art in computational musicology, raga analysis and song analysis using statistics. The subtopics include statistical modeling, inter onset interval, note duration analysis, pitch movement between the notes, rate of change of pitch (pitch velocity) and probabilistic analysis of musical notes. The author concludes the work with reflecting on the lives of a few renowned musicians and musicologists with an account of hilarious moments taken from their lives to excite the reader to know more about HCM. This book would be useful for musicians, musicologists, researchers in music history, aesthetics, computational musicology, and advanced undergraduate and postgraduate students of music and musicology.
In this dissertation, I examine notions of tradition and fidelity to tradition in Indian classical music by investigating the development of musical judgment, categorical knowledge and aesthetic sense in the performance of Dhrupad - a genre of Hindustani music with medieval origins. Focusing on two contemporary performers of Dhrupad with very different histories of listening and practice, I show that categorical knowledge and strong notions of fidelity to tradition arise directly from the deeply dialogic and inter-subjective processes through which individual musicians develop and stabilize coherent aesthetic response to handed-down musical materials in situated practice. Specifically, I argue that strong notions of tradition and fidelity to tradition in Indian classical music are irreducible to a discussion of the disciplinary technologies of colonialism and cultural nationalism. Rather, I propose that tradition in Indian classical music has to be understood in dialogic relationship with intelligibility and individual musical judgment. I develop an analytical framework to investigate the interactive basis of musical judgment and categorical sense in Dhrupad performance. I understand forms of knowledge produced in performance to be acoustemic: epistemologies produced through active sensing in and through sound. I investigate how formal structures of knowledge in a classical music system become available as human sensibility, affect and soma-aesthetic knowledge in the interactivity of musical environments - an intertwining engendered in part by the affordance of musico-aesthetic forms in Indian classical music. I show that musical objects develop both heterogeneity and ontological weight in the interactivity of Dhrupad vocal performance, rendering performance practice within traditional lineages systematic and heterogeneous, coherent and diverse. Based on this analysis I argue that heterogeneity and diversity are not antithetical to the existence of a Great Tradition of Indian classical music but a part of its sonic logic as a domain of creative human activity. In positing that the categories, codes, classifications and ontologies of the most hoary of genres in Indian classical music are constitutive of and constituted by the situated practice of classical music in particular communities, this dissertation stakes a claim to the intellectual history of traditions in postcolonial contexts.
It Studies The Concept Of Form In The Context Of Art, Specifically Hindustani Music. It Investigates The Underlying Philosophical Aesthetics And Some Aesthetical Concepts And Analyses The Basic Forms Of Raga And Tala.
A Study Of Hindustani Music In Its Sociological Perspective. Covers Guru-Shishya Parampara, The Social Status Of Musician Community-History Of Hindustani Music Etc. Has 6 Chapters Followed By Conclusion.