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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.
In Indian context.
This Book Is An Attempt At A Rational Reconstruction Of The Fundamental Principles Of Indian Musicology And Tries To Indicate How The Basic Aesthetic Appeal Of The Ragas Could Be Best Interpreted. Challenging The Idea That Indian Music Is A Closed Orthodox Set Of So-Called Rigid Rules And Principles, It Treats Indian Music As Rooted In Man S Spiritual Vision. Music Unfolds This Vision Spontaneously Through Proportionate Note-Sequences And It Is The Unending Pilgrimage Of Man, Which Opens Richer And Greater Horizons Where Man Can Find His Home To Be A Hernmitage Of Abiding Peace And Blissful Joy. Throughout The Book There Runs A Single Thread, Namely, The Transcendental Dimension Of The Spiritual Vision In Aesthetic Enjoyment, As Reflected In The Musical Creativity Of India, From The Ancient Period. The Criticism Of The So-Called Gharana System Together With A Criticism Of The Traditional Tala System And Other Allied Issues Regarding The Concepts Of Raga And Rasa Will Be Helpful To The Scholars And Researches In This Field. The Distinctive Feature Of This Book Is The Treatment Of The Revolutionary Experiments Of Rabindranath Tagore On Indian Music And Its Musicology. This Section Will Stimulate Specialists And General Readers Alike. This Book Is A Must For Western Readers.
Illustrations: B/w Illustrations Description: This is an attempt to bring, to bear a 'scientific' attitude to Indian musicological problems. Tools and methods of modern science have been employed to probe into musical phenomena and Indian music history. No other term is perhaps so operatively basic as the tonic-drone in melodic music and today the tambura is the most important drone in Indian music. The physical and auditory tonal spectra of this instrument have been studied. Further, the immense importance of the emergence of the drone in Indian music history has been discussed at length, in terms of neuro-physiological dynamics. Musical sites-particularly the sruti-have posted enormous problems. It is posited herein that this is due to the confusion of two systems-one of harps and the other of fingerboard instruments. Detailed of experiments on the measurements of sruti-s have also been given. So also studies in gamaka and its psychological significance have been discussed. A fundamental theory in Indian aesthetics is that of rasa. Profound as it is, its scope in relation to music has to be evaluated. The results of experiments carried out show that this theory may not fit into musical aesthetics, in toto and it is now adumbrated; similarly the time theory of raga-s also seems to be of questionable application. Concepts of the information theory and other statistical methods have been applied to study the classification and the forms of raga-s with very promising results. The book, thus, spans across questions of methodology, dynamics of history, musical scales, non-conscious elements in music, raga-rasa, raga-rupa and musical perception. It is an invitation to an adventure of ideas and a reorientation to Indian musicology.
Description: The book represents a major attempt to place music in India in wider perspectives offered by numerous music-traditions which deal with theoretical frameworks of music. It is music theory, pitched at an ambitious high. In twenty-seven closely argued essays, the author touches diverse music-centered studies such as religion, philosophy, linguistics, poetics, theatre-arts, folklore, aesthetics, musicology as grammar, history, intercultural inquiries, area-studies, oral traditions, inter-art relationships, and Indology. He insists on keeping performance at the centre of his investigations and hence succeeds in avoiding dangers of dry pedantry-which may excessively depend on the written material and methodologies developing with it. Further, all essays are permeated with an intense Indianness, intent on voicing the Indian view-point. However, the writing steers clear of scholastic chauvinism because of the author's genuine and unwavering regard for the world of fundamental concepts and ideas, whether indigenous or foreign, that has governed Indian musical behaviour. The effort is an invaluable guide to students of Indian of Indian music and culture-presented as mutually dependent entities.
This monograph presents a diverse collection of articles on Indian Art Music based on analytical work aided by computational tools. The book focuses mainly on the current practices in music and its representation in audio recordings, a perspective that is particularly relevant to oral traditions. It presents a rare and unique example of collaboration between musicians, musicologists, scientists, and engineers. The presentation brings together various aspects of research on Indian art music that benefits from audio processing or computing, ranging from musicology to information retrieval to instrument modeling. It is hoped that the monograph will serve as an accessible introduction to computational approaches for Indian art music in particular, and ethnomusicology more generally.
Karnataka Music As Aesthetic Form Is Probably The First Serious And Systematic Attempt To Analyse And Explain Aesthetic Experience Of Karnataka Music In The Perspective Of Its Multiple Values. It Deals With A Traditional Art Form Of Indian Music Which Is Performed And Enjoyed By Many Millions Of Music Lovers In India And Abroad. Its Focus In Karnataka Music But Much Of What It Says In The First Half Applies To Indian Music In General. The Book Develops Its Ideas And Concepts Progressively, Beginning With An Analysis Of Art Experience, Set Forth Against A Background Of Human Experience In General And Examines Some Of The Prominent Indian And Western Theoretical Models Of Art Experience And Beauty. The Main Thrust Of Its Argument Presented With Philosophical Insights Is That Experience Of Pure Music Is Qualitatively Different From Other Forms Of Aesthetic Experience, Incomparable And Autonomous, And That Traditional Aesthetic Theories Of Poetry And Theatre Are Inadequate To Explain Musical Experience Per Se. The Author Examines, In The Process, Aesthetic Materials And Compositional Design Of Indian Music As Well As The Musical Forms And Instruments Employed In Contemporary Karnataka Music. Historical Continuity And Chronology Of The Musical System Are Discussed In Relation To General And Particular Historiographical Problems And In Relation To The Historical Evolution Of The Characterising Features Of The System Viz. Raga, Tala, Vadya And Prabandha. It May Be Mentioned That Art Historiography With Special Reference To Indian Music Is One Of The Author'S Major Interests. The Book Is Based On Extensive, Original Sources Drawn From Different Areas Of Study Such As Aesthetics, Indian Music, Vedic And Tantrik Literature.