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…A concise yet extensive coverage of various aspects of Hindustani Classical Music. …48 well-crafted chapters… …Different terms used in Hindustani Music are defined in simple terms… …A lucid explanation of the science behind music, including vibratios, frequency, naad, shruti, swar, raga, thaat and various musical compositions… …The journey of Hindustani Music from the Vedic ages to the modern age explored, including a commentary on the important musical treatises and a brief look at the gharana system of the Hindustani Music… …A section devoted to the practical performance of Hindustani Music… …Detailed information given about 22 taal and 55 raga popular today…. … “a flow of information of music, useful to all students of Hindustani Music, whatever their level of expertise”… … “a boon to the … students pursuing Visharad in Hindustani Music”
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).
When Namita is ten, her mother takes her to Dhondutai, a respected Mumbai music teacher from the great Jaipur Gharana. Dhondutai has dedicated herself to music and her antecedents are rich. She is the only remaining student of the legendary Alladiya Khan, the founder of the gharana and of its most famous singer, the tempestuous songbird, Kesarbai Kerkar. Namita begins to learn singing from Dhondutai, at first reluctantly and then, as the years pass, with growing passion. Dhondutai sees in her a second Kesar, but does Namita have the dedication to give herself up completely to music—or will there always be too many late nights and cigarettes? Beautifully written, full of anecdotes, gossip and legend, The Music Room is perhaps the most intimate book to be written about Indian classical music yet.
After the explosive capture of serial rapist Edward Carter, it seems the city of Halifax has survived one of the greatest evils it has ever witnessed. However, just less than a year later, frightening things begin to happen to normal people. Expert forensic psychologist Dr. Michael Wenton and Sergeant Michell Wa of the Halifax Regional Police find themselves struggling to put the Carter case behind them.
David Nelson wrote and compiled Konnakkol Manual to assist teaching an advanced course in the rhythmic compositions of Karnatak (South Indian) music. This new instructional book picks up where his previous book, Solkattu Manual, left off. It includes advanced exercises for developing control of odd pulse divisions, such as three and five notes per beat. There is a chapter on the sources of Karnatak tāas (meters), and another on the evolution of rhythmic compositions—told through the work of three generations of musicians. The main body of the book comprises full tani āvartanams (spoken percussion solos) in three tāas, together with instructions for practice, and Solkattu notation. Nelson created 150 instructional videos to accompany the text. They are accessible at www.weslpress.org/readers-companions/.
Dizzy Gillespie was one of the most important and best-loved musicians in jazz history. With his horn-rimmed glasses, goatee, jive talk, and upraised trumpet bell, he was the hipster who most personified bebop. The musical heir to Louis Armstrong, he created the modern jazz trumpet-playing style and dazzled aficionados and popular audiences alike for over 50 years. In this first full biography, Alyn Shipton covers all aspects of Dizzy's remarkable life and career, taking us through his days as a flashy trumpet player in the swing bands of the 1930s, his innovative bebop work in the 1940s, the worldwide fame and adoration he earned through his big band tours in the 1950s, and the many recordings and performances which defined a career that extended into the early 1990s. Along the way, Shipton convincingly argues that Gillespie--rather than Charlie Parker as is widely believed--had the greatest role in creating bebop, playing in key jazz groups, teaching the music to others, and helping to develop the first original bebop repertory. Shipton also explores the dark side of Dizzy's mostly sunny personal life, his womanizing, the illegitimate daughter he fathered and supported--now a respected jazz singer in her own right--and his sometimes needless cruelty to others. For anyone interested in jazz and one of its most innovative and appealing figures, Groovin' High is essential reading.
In his first book since the enormously popular Great Singers on Great Singing, the distinguished Metropolitan Opera basso Jerome Hines here provides a wealth of new information and advice for all those who have embarked on - or plan to embark on - a serious singing career. From basic information on how the head and body combine to produce vocal sound, he goes on to analyze the "four voices" encompassed by the singer's one voice, always explaining how through proper technique and training that voice can achieve its ultimate in power, grace and beauty. On another level, Mr. Hines guides the singer through the labyrinth of choosing the right teacher, shows how physical and emotional health and care of the body relate to the vocal apparatus and considers such diverse matters as stage fright, dealing with conductors and managers and that final challenge - facing the critics.
Pt.Sujan Rane holds B.A. in Economics and M.A. in English of Bombay University, India. He is a former Official of international Banks like HSBC, India, Societe Generale, Sultnate of Oman and ABN-Amro, Saudi Arabia. While working for these Banks he has continued to learn, teach and practice the age-old art of Hindustani Classical Vocal Music over the last 35 years or so. He belongs to the well-known School of this art popularly called Kirana Gharana and has received training initially from Pt. Govind Prabhu of another School called Gwalior Gharana and Pt.Rajaram Jadhav of Kirana Gharana and subsequently from Pt.Firoz Dastur a doyen of Kirana Gharana and a faculty member of the Department of Music, University of Bombay, India .