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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.
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.
The Bloomsbury Research Handbook of Indian Aesthetics and the Philosophy of Art provides an extensive research resource to the burgeoning field of Asian aesthetics. Featuring leading international scholars and teachers whose work defines the field, this unique volume reflects the very best scholarship in creative, analytic, and comparative philosophy. Beginning with a philosophical reconstruction of the classical rasa aesthetics, chapters range from the nature of art-emotions, tones of thinking, and aesthetic education to issues in film-theory and problems of the past versus present. As well as discussing indigenous versus foreign in aesthetic practices, this volume covers North and South Indian performance practices and theories, alongside recent and new themes including the Gandhian aesthetics of surrender and self-control and the aesthetics of touch in the light of the politics of untouchability. With such unparalleled and authoritative coverage, The Bloomsbury Research Handbook of Indian Aesthetics and the Philosophy of Art represents a dynamic map of comparative cross-cultural aesthetics. Bringing together original philosophical research from renowned thinkers, it makes a major contribution to both Eastern and Western contemporary aesthetics.
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 Historical Study Of Indian Music Covers A Wide Range From The Earliest Historical Traces To The Present Day. Explores-Ancient Musical Instruments, The Concept Of Raga, The Origin And Development Of Dhruvapada And Khayal The Close Relationship Between Music And Dance.