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Since the thirteenth century, the sitara stringed, plucked instrument of Indiahas transformed into an instrument beloved by millions in its country of origin as well as all over the world. The Journey of the Sitar in Indian Classical Music details the origin, history, and playing styles of this unique stringed instrument. Dr. Swarn Lata relies on more than thirty-five years of experience teaching sitar to students from diverse cultures and communities as well as extensive research from libraries, museums, temples, and musicologists to compile a comprehensive guidebook filled with fascinating facts about the sitar. In a carefully organized format, Lata offers an in-depth examination of the meaning of musical instruments, the styles of different gharanas, and the place of the sitar in Indian classical music. Music is an extraordinary medium of expression that has the capability to bring the world together. This step-by-step guidebook shares a one-of-akind study of a unique instrument that produces a beautiful sound while providing an unforgettable spiritual experience to all who listen.
Samidha Vedabala is working as an Assistant Professor, Department of Music, Sikkim University, Gangtok, Sikkim. Her association with the Sitar is from an early age, but her formal learning began with Late. Pandit Deepak Choudhury, continuing the journey presently she is learning from Pt. Sanjoy Bandyopadhyay. Along with the practical aspects of music learning, performance and teaching, Samidha has achievements in the field of research in Music. She has published many research articles in academic journals that are listed in SCOPUS, Web of Science, and Google Scholar. She is associated with many cultural organizations around the country. She has also presented scholarly papers in many International and National seminars. Samidha has done her Ph.D. on the topic “Stylistic Evolution of Sitar Baaj in 20th and 21st Century” in Rabindra Bharati University, Kolkata under the supervision of Dr. Debasish Mondal.
Are you fascinated by the iconic sound of the sitar and interested in learning how to play it? "Sitar Mastery: The Ultimate Guide to Playing and Performing on the Iconic Indian Musical Instrument" is the perfect book for you. This comprehensive guide takes you on a journey from the basics of sitar playing to advanced techniques, covering everything you need to know about mastering this beautiful instrument. With detailed chapters on the history of the sitar, tuning, hand and finger positioning, and music theory, this book provides a comprehensive understanding of the sitar and its place in Indian Classical Music. Additionally, it covers intermediate and advanced techniques such as playing complex compositions, improvisation, and dealing with stage fright, making it a valuable resource for both beginners and experienced players. This book also includes a section on maintaining and repairing the sitar, as well as tips for performing and showcasing your talent. The resources section offers a list of online resources, music schools, teachers, and repair services, making it a one-stop-shop for all sitar enthusiasts. Whether you are a music enthusiast or a professional musician, "Sitar Mastery" is the ultimate guide to help you achieve your musical goals and unlock the full potential of the sitar. So, grab your sitar and start your journey to becoming a sitar master with "Sitar Mastery: The Ultimate Guide to Playing and Performing on the Iconic Indian Musical Instrument."
One of Library Journal's "Best Arts Books of 2020" The definitive biography of Ravi Shankar, one of the most influential musicians and composers of the twentieth century, told with the cooperation of his estate, family, and friends For over eight decades, Ravi Shankar was India's greatest cultural ambassador. He was a groundbreaking performer and composer of Indian classical music, who brought the music and rich culture of India to the world's leading concert halls and festivals, charting the map for those who followed in his footsteps. Renowned for playing Monterey Pop, Woodstock, and the Concert for Bangladesh-and for teaching George Harrison of The Beatles how to play the sitar-Shankar reshaped the musical landscape of the 1960s across pop, jazz, and classical music, and composed unforgettable scores for movies like Pather Panchali and Gandhi. In Indian Sun: The Life and Music of Ravi Shankar, writer Oliver Craske presents readers with the first full portrait of this legendary figure, revealing the personal and professional story of a musician who influenced-and continues to influence-countless artists. Craske paints a vivid picture of a captivating, restless workaholic-from his lonely and traumatic childhood in Varanasi to his youthful stardom in his brother's dance troupe, from his intensive study of the sitar to his revival of India's national music scene. Shankar's musical influence spread across both genres and generations, and he developed close friendships with John Coltrane, Philip Glass, Yehudi Menuhin, George Harrison, and Benjamin Britten, among many others. For ninety-two years, Shankar lived an endlessly colorful and creative life, a life defined by musical, emotional, and spiritual quests-and his legacy lives on. Benefiting from unprecedented access to Shankar's archives, and drawing on new interviews with over 130 subjects-including his second wife and both of his daughters, Norah Jones and Anoushka Shankar- Indian Sun gives readers unparalleled insight into a man who transformed modern music as we know it today.
An important modern exponent of Asian dance, Pandit Chitresh Das brought kathak to the United States in 1970. The North Indian classical dance has since become an important art form within the greater Indian diaspora. Yet its adoption outside of India raises questions about what happens to artistic practices when we separate them from their broader cultural contexts. A Guru's Journey provides an ethnographic study of the dance form in the San Francisco Bay Area community formed by Das. Sarah Morelli, a kathak dancer and one of Das's former students, investigates issues in teaching, learning, and performance that developed around Das during his time in the United States. In modifying kathak's form and teaching for Western students, Das negotiates questions of Indianness and non-Indianness, gender, identity, and race. Morelli lays out these issues for readers with the goal of deepening their knowledge of kathak aesthetics, technique, and theory. She also shares the intricacies of footwork, facial expression in storytelling, and other aspects of kathak while tying them to the cultural issues that inform the dance.
…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”
Winner of the James Tait Black Prize for Biography An autobiographical exploration of the role and meaning of music in our world by one of India's greatest living authors, himself a vocalist and performer. Amit Chaudhuri, novelist, critic, and essayist, is also a musician, trained in the Indian classical vocal tradition but equally fluent as a guitarist and singer in the American folk music style, who has recorded his experimental compositions extensively and performed around the world. A turning point in his life took place when, as a lonely teenager living in a high-rise in Bombay, far from his family’s native Calcutta, he began, contrary to all his prior inclinations, to study Indian classical music. Finding the Raga chronicles that transformation and how it has continued to affect and transform not only how Chaudhuri listens to and makes music but how he listens to and thinks about the world at large. Offering a highly personal introduction to Indian music, the book is also a meditation on the differences between Indian and Western music and art-making as well as the ways they converge in a modernism that Chaudhuri reframes not as a twentieth-century Western art movement but as a fundamental mode of aesthetic response, at once immemorial and extraterritorial. Finding the Raga combines memoir, practical and cultural criticism, and philosophical reflection with the same individuality and flair that Chaudhuri demonstrates throughout a uniquely wide-ranging, challenging, and enthralling body of work.
It was like a meteor that he passed across the Indian sky and cut in his wake the body of Hindustani classical music into two neat halves; one half before Kumar Gandharva and one half after him, a kind of a B.C. and an A.D. in Indian music. This book examines the magical opening up of a man from one tradition to the building of another. -------------------------------------------------------------------------------- Kumar sang out of the Bandish and not out of the Raga, a complete turnaround in the culture of Hindustani classical music. And of course the passion and intensity with which Kumar invested his performance. -------------------------------------------------------------------------------- It could be said without the slightest exaggeration that it was Kumar Gandharva who brought Bhakti Sangeet back into our music. Bhajan singing is not Bhakti singing, Kumar used to say. It is not the subject of God in the lyrics of the Bhajan that makes it into Bhakti Sangeet, but the man singing it. -------------------------------------------------------------------------------- This book has taken a lifetime to get written. Over the years, randomly the material for this book got collected. Not because any of us who knew Kumar and felt the epochal implications of the art that his life presented thought that it needed necessarily to be documented in a book; but that it needed to be understood for its own sake.