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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.
The Book Seeks To Weigh Some Basic Facts And Concepts Of Hindustani Sangeet (Music, Rhythm And Kathak Dance) Against The Art Theories Of Susanne K. Langer, An Eminent Aesthetician Of The Recent Past, Incorporating Numerous Illustrative References To Hindustani Sangeet.
Time in Indian Music is the first major study of rhythm, metre, and form in North Indian rag , or classical, music. Martin Clayton presents a theoretical model for the organization of time in this repertory, a model which is related explicitly to other spheres of Indian thought and culture as well as to current ideas on musical time in alternative repertoriesnullincluding that of Western music. This theoretical model is elucidated and illustrated with reference to many musical examples drawn from authentic recorded performances. These examples clarify key Indian musicological concepts such as tal (metre), lay (tempo or rhythm), and laykari (rhythmic variation).
For thousands of years music in India has been considered a signifying art. Indian music creates and represents meanings of all kings, some of which extend outwardly to the cosmos, while others arise inwardly, in the refined feelings which a musical connoisseur experiences when listening to it. In this book the author explores signification in Hindustani classical music along a two-fold path. Martineq first constructs a theory of musical semiotics based on the sign-theories of Charles Sanders Peirce. He then applies his theory to the analysis of various types of Hindustani music and how they generate significations. The author engages such fundamental issues as sound quality, raga, tala and form, while advancing his unique interpretations of well-known semiotic phenomena like iconicity, metalanguage, indexicality, symbolism, Martinez`s study also provides deep insight into semiotic issues of musical perception, performance, scholarship, and composition. An specially innovative and extensive section of the book analyzes representations in Hindustani music in terms of the Indian aesthetic theory of rasa. The evolution of the rasa system as applied to musical structures is traced historically and analyzed semiotically. In the light of Martinez`s theories, Hindustani music reveals itself to be both a delightfully sensuous and highly sophisticated system of acoustic representations.
Art and life in India have been inextricably intertwined from ancient times to the present day. Art as a way of life, as ritual, as decoration and as unity with the Sublime bore testament to the socio-cultural milieu; the high level of sophistication that developed in ancient India was reflected in the arts in a holistic light. The arts, thus, strived to hone man’s intellectual sensibilities, thus raising him to the level of the transcendental, which in India was Brahma or ultimate reality. This book brings forth the popular theories of Indian aesthetics and Indian poetics. Bharatmuni, Abhinavgupta, Anandvardhana and a number of seers have given substantial dimensions to the concept as found in Natryashastra, Dhvanyavloka, and Abhinavbharati, among other texts. It represents primarily a compilation of commentaries and criticism of these texts, and will serve as a preliminary guide to students, beginners and researchers of Indian aesthetics and poetics. The appendices bring together a number of papers on Indian aesthetics, while there is also an informative and comprehensive bibliography and an exhaustive glossary to provide added aid for non-Sanskrit speakers.
Rāgs Around the Clock is a rich and vibrant compendium for the discovery and study of North Indian classical music. The theory and practice of rāg are explored through two interlinked resources: a handbook of essays and analyses offering technical, historical, cultural and aesthetic perspectives; and two online albums – Rāg samay cakra and Twilight Rāgs from North India – featuring khayāl singer Vijay Rajput and accompanists. Extracts from the albums are also embedded into the text to enhance learning and understanding. Each rāg is accompanied by a description of its chief characteristics and technical features, a notation of the song (bandiś) on which the performance is based, and a transliteration and translation of the song text. Distinctively, Rāg samay cakra also includes spoken renditions of each of the texts, helping non-Hindavi speakers to achieve the correct pronunciation. Sharing insights from both theory and practice, this collection draws on recent scholarship while also showcasing the vocal idiom – the gāyakī – of Vijay Rajput, a disciple of the late Pandit Bhimsen Joshi. It offers invaluable reading for students and researchers of Indian classical music, world music and ethnomusicology, and a rich repository for teacher and student practitioners of the khayāl vocal style. The combination of an aural and written exploration of rāg will appeal to anyone drawn to this form of music – whether newcomer, student (śiṣyā) or aficionado (rasika).