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In Indian context.
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.
Offering a broad perspective of the philosophy, theory, and aesthetics of early Indian music and musical ideology, this study makes a unique contribution to our knowledge of the ancient foundations of India's musical culture. Lewis Rowell reconstructs the tunings, scales, modes, rhythms, gestures, formal patterns, and genres of Indian music from Vedic times to the thirteenth century, presenting not so much a history as a thematic analysis and interpretation of India's magnificent musical heritage. In Indian culture, music forms an integral part of a broad framework of ideas that includes philosophy, cosmology, religion, literature, and science. Rowell works with the known theoretical treatises and the oral tradition in an effort to place the technical details of musical practice in their full cultural context. Many quotations from the original Sanskrit appear here in English translation for the first time, and the necessary technical information is presented in terms accessible to the nonspecialist. These features, combined with Rowell's glossary of Sanskrit terms and extensive bibliography, make Music and Musical Thought in Early India an excellent introduction for the general reader and an indispensable reference for ethnomusicologists, historical musicologists, music theorists, and Indologists.