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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.
One of the foremost Karnatik vocalists today, T.M. Krishna writes lucidly and passionately about the form, its history, its problems and where it stands todayT.M. Krishna begins his sweeping exploration of the tradition of Karnatik music with a fundamental question: what is music? Taking nothing for granted and addressing readers from across the spectrum - musicians, musicologists as well as laypeople - Krishna provides a path-breaking overview of south Indian classical music.
Music and Temple Ritual in South India: Performing for Śiva documents the musical practices of the periya mēḷam, a South Indian instrumental ensemble of professional musicians who perform during the rituals and festivals of high-caste (Brahmanical) Tamil Hindu temples dedicated to the Pan-Indian god Śiva – an important patron of music since at least the tenth century. It explores the ways in which music and ritual are mutually constitutive, illuminating the cultural logics whereby performing and listening are integral to the kinetic, sensory and affective experiences that enable, shape and stimulate ritual communication in present-day devotional Hinduism. More than a rich and vivid ethnographic description of a local tradition, the book also develops a comprehensive and original analytical model, in which music is understood as both a situated and creative activity, and where the fluid relationship between humans and non-humans, in this case divine beings, is truly taken into consideration.
This book looks at the life and music of Veena Dhanammal (1866–1938), considered the embodiment of ‘classicism’ in Karnatik music. It locates her art within the cultural, social and intellectual milieu she inhabited, allowing readers to track the changing musical landscape of southern India, as a process of urbanisation — beginning in the late nineteenth century — resulted in Karnatik music’s movement from a ritual and courtly location to a modern, secular form of entertainment in the city space.
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T.M. Krishna, one of the foremost Karnatik vocalists today, begins his panoramic exploration of that tradition with a fundamental question: what is music? Taking nothing for granted and addressing diverse readers from Karnatik music's rich spectrum and beyond it, Krishna provides a path-breaking overview of south Indian classical music. He advances provocative ideas about various aspects of its practice. Central to his thinking is the concept of 'art music', the ability to achieve abstraction, as the foundational character of Karnatik music. In his explorations, he sights the visible connections and unappreciated intersections between this music form and others - Hindustani music, Bharatanatyam, fusion music and cine music - treading new, often contentious, ground. A Southern Music seeks to retrace the sources of Karnatik music even as it reflects on its self-renewing vitality today. To that end, Krishna examines a number of issues that Karnatik music must face up to: questions of gender and caste, the role of religion and of lyrics inspired by devotional sentiments, the diaspora and its relationship with 'classical' music, technology. Unquestionably the definitive book on Karnatik music.