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About the Author Deepak Raja (b. 1948-) is amongst the most respected writers on Hindustani music today. He works as repertoire analyst for India Archive Music Ltd. (IAM), New York, the most influential producer of Hindustani music outside India. He has been associated with the academic and publishing activities of the Śruti magazine (Chennai), ITC-Sangeet Research Academy (Calcutta), Sangeet Natak Akademi (Delhi), and the Indian Musicological Society (Baroda/Mumbai). About tha Book Stating that Hindustani music should be rightly termed “Art music” and not “classical music”, the book begins by discussing the features of Art music and presents an approach to appreciating Hindustani music. It provides a detailed understanding of the components of the raga experience in Hindustani music, including their time theory and the role of Gharanas of the musical tradition. It deals with genres of raga-based vocal music which have been performed over the last five centuries: dhrupad, which has its moorings in devotional music; khyal vocalism shaped by Sufi influences; the thumri, which originated as an accompaniment to the Kathak dance; and the tappa, adapted from the songs of camel drivers in the north-west frontier. It takes up the use of instruments in Hindustani music, especially the rudra-vina, sitar, surbahar, sarod, santur, the shehnai, pakhawaj, the Hawaiian Guitar and many others, giving an account of their origin, performing styles and lineages relating to them. Throughout, the emphasis is on contemporary trends in Hindustani music and its prospects in the future. It mentions the significant practitioners of Hindustani music, both vocal and instrumental. The volume will interest lovers of Indian music and also scholars who want to have a greater understanding of its traditions, its contemporary appeal and trends in practice.
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.
An Introduction to Hindustani Classical Music: A Guidebook for Beginners is Vijay Singha's comprehensive guide to savour and appreciate classical music. Written in a simple and easy-to-comprehend style, this book delves into the understanding of raga sangeet, semi-classical and fusion music, raga sangeet in Hindi films, as well as the future of classical music in India.
Winner of the James Tait Black Prize for Biography An autobiographical exploration of the role and meaning of music in our world by one of India's greatest living authors, himself a vocalist and performer. Amit Chaudhuri, novelist, critic, and essayist, is also a musician, trained in the Indian classical vocal tradition but equally fluent as a guitarist and singer in the American folk music style, who has recorded his experimental compositions extensively and performed around the world. A turning point in his life took place when, as a lonely teenager living in a high-rise in Bombay, far from his family’s native Calcutta, he began, contrary to all his prior inclinations, to study Indian classical music. Finding the Raga chronicles that transformation and how it has continued to affect and transform not only how Chaudhuri listens to and makes music but how he listens to and thinks about the world at large. Offering a highly personal introduction to Indian music, the book is also a meditation on the differences between Indian and Western music and art-making as well as the ways they converge in a modernism that Chaudhuri reframes not as a twentieth-century Western art movement but as a fundamental mode of aesthetic response, at once immemorial and extraterritorial. Finding the Raga combines memoir, practical and cultural criticism, and philosophical reflection with the same individuality and flair that Chaudhuri demonstrates throughout a uniquely wide-ranging, challenging, and enthralling body of work.
Author's anecdotes and impression on the life and musical genius of musicians of Hindustani music style.
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.
AIM In spite of a reasonably extensive literature in English' and Indian vernaculars, there are extremely few books on Indian music that can be considered of a scientific standard. I found, when I took up an interest in Indian music in 1967, that even protracted reading of the studies in English was not conducive to an understanding of the principles of performance. Most of my study and research have been devoted to the gradual refinement of this very understanding. In the course of time it also became obvious that different scholars and different musicians held divergent views on many basic concepts of Indian music. Therefore, one of my tasks was to assess the degree of variability in Indian music. As a corollary I wanted to know how this variability could manifest itself as change in a relatively short and well-documented period. It is often assumed that traditional cultures, as e. g. in India, are rather inert and that the art forms hardly ever change. This study proves the contrary: Indian music has a strong vitality. If we examine the different treatises through the centuries this vitality would appear to be a basic characteristic. I felt that at least an effort to discover the roots of such change would be valuable as a contribution to the study of art history and possibly to the sociology of culture.