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This book argues that Carnatic music as it is practiced today can be traced to the musical practices of early/mid eighteenth century. Earlier varieties or 'incarnations' of Indian music elaborately described in many musical treatises are only of historical relevance today as the music described is quite different from current practices. It is argued that earlier varieties may not have survived because they failed to meet the three crucial requirements for a language-like organism to survive i.e., a robust community of practitioners/listeners which the author calls the Carnatic Music Fraternity, a sizeable body of musical texts and a felt communicative need. In fact, the central thesis of the book is that Carnatic music, like language, survived and evolved from early/mid eighteenth century when these three requirements were met for the first time in the history of Indian music. The volume includes a foreword by Paul Kiparsky.
Preface in German; abstracts in English and German.
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.
This book is an endeavor to represent the mind of a musician seeking the ideal. In the process there has been a journey into the past and a peep into the future to arrive at a balance for an ideal present. Dr. Pantula Rama has been bestowed with the greatest of boons in form of her family background of music and her Guru Sri Ivaturi Vijayeswara Rao, who created an insight required for this work. Rama, chose to interview 13 maestors of the field who are the bridging brigade for the past and the present. Their valuable views have been presented in this research work.
M.S. Subbulakshmi's life was one of extraordinary achievement. Although she was portrayed in many ways - as a musician who sought and achieved an all-India appeal; a philanthropist and supporter of noble causes; an icon of style; a woman of piety and devotion; and a friend and associate of the good and the great - she was first and foremost a classical vocalist of the highest rank, of unmatched gifts, who lives on in the musical history of India. Of Gifted Voice looks at her life and times, and the great musical tradition she belonged to and to which she brought so much, against the larger backdrop of the developments in the world of Carnatic music. It describes how music came to be performed in concerts; the impact the gramophone, the radio and the talkie had on music; the decline of the traditional performing families; and the appearance of women on public platforms. The book also delves into Subbulakshmi's brush with films as well as her concert style and that of her celebrated contemporaries. Though her story has often been told, we know little of the woman behind the image and the musician behind the public persona. Of Gifted Voice attempts, with warmth and keen-eyed perception, to understand the music, the history, the artiste and her incomparable presence.
The Book The Concept Of Sangeet Sastras And Their Practice And Differences Through The Ages. The Study Dwells On The Composition Of The Trinity-Tyagraja, Samasastry And Diksitar. Has 6 Chapters, Conclusion And Appendices.