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Fundamentals of Indian Music 1st Edition,818526841X,9788185268415

Fundamentals of Indian Music 1st Edition

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Book Information

Publisher:Pratibha Prakashan (Delhi)
Published In:1996
ISBN-10:818526841X
ISBN-13:9788185268415
Binding Type:Hardback
Weight:1.25 lbs
Pages:pp. xvii + 313, Illus., Tables

The Title "Fundamentals of Indian Music 1st Edition" is written by Swatantra Sharma. This book was published in the year 1996. The ISBN number 818526841X|9788185268415 is assigned to the Hardback version of this title. The book displayed here is a 1st Edition edition. This book has total of pp. xvii + 313 (Pages). The publisher of this title is Pratibha Prakashan (Delhi). We have about 379 other great books from this publisher. Fundamentals of Indian Music 1st Edition is currently Available with us.

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About the Book

Indian music is like an ever-willing spring, which has become an ocean. It has pass through different periods primitive, prehistoric, classical, mediaevaland modern. Throughout the ages, the education in the fine art of Indian music has imparted through Guru-Shishya-Parampara or Gharana system. Indian music being entirely melodic has been conceived in terms of the human voice and is forwarded on relationships between sounds and is based on certain universal physical laws with in infinite verity of substitutes. Raga is the fundamental element of Indian music, which helps a musician to REACH the prime goal, realization of Atman and the culture of Indian music is fruitful with this meaningful quest for eternal truth that lies in the art of music. The Indian musician brings an exalted personal expression of union with the infinite.

Indian music originated on the shadowy past, underwent gradual transformation through the process of evolution, making adjustment with the Environment manners and customs of different human societies. Taste and temperament of the people of different countries are the cause for the variation on the forms of music. But in the ultimate analysis we find that music of all countries bear the same significance, the same idea with the pious motive of enriching the treasure of human knowledge.

This work covers some of the fundamental aspects of Indian Music-Sangeet, Hindustani and Karnatic music, sound, swara, shruti, thata, Raga, Raga-Ragini scheme, Classification of instruments, formation of that in Karnatic and Hindustani Music, Layakaries origin of Sitar, Tanpura, Tabla different forms of music, Bibliographical studies of different musicians and description of few Ragas etc.

About the Author

Dr. (Mrs.) Swatantra Sharma is a well-known educationist and scholar of Indian Classical Music. She has written a number of books on Indian Classical Music, mainly, Bhartiya Sangeet : Ek Vaigyanik Vishleshan and Pashchatya Swarlipi Paddati Evam Bhartiya Sangeet and these books have been widely popular in various universities, institutions of Music, Teachers, Research Scholars as well as Music lovers and even recommended in syllabus of Western countries to teach Indian Classical Music in foreign. Dr. Sharma has done her D.Phil. in Music on Comparative Study of the Evoluation of Indian and Western Music and has published a number of articles, She is a regular A.I.R., T.V. and stage artist.

Dr. Sharma has to her credit A Rich administrative experience of organising Programmes of Music, dance and Drama at National level for a period of five years in the Deptt. of Cultural Affairs, U.P. Govt. and North Central Zone Cultural Centre, Govt. of India directly selected by Public Service Commission, U.P.

At present Dr. Sharma is teaching in the Deptt. of Performing 'Art in Allahabad University, with her Specialization In Indian Classical Music.

Contents

Preface
Introduction

1. Sangeet
2. Two Main Systems of Indian Music : Hindustani and Karnatic Music
3. Sound : (Production), Musical and Unmusical Sound, Nada (Ahat and Anahat Nada), Three Qualities of Musical Sound (Nada)
4. Shruti : Its Definition and Division among Notes, Placement of Swaras on Specific Shrutis
5. Swara : Prakat, Vikrit (Kormal and Tivra)
6. Saptak
7. Thata
8. Raga : Its Jati - Sampurna, Shadav, Odav
9. Varnas : Alankars, Palta, Vadi, Samvadi, Anuvadi, Vivadi, Pakad, Swarmalika, Varjya Swara, Chal and Achal Swara, Komal, Tivra Swara, Chalan, Sandhiprakash, Bol-Alap, Bol-Tan, Avartan, Nayak, Kalawant, Atai
10. Classification of Ragas among Thatas
11. Alap : Tan, Aroh, Avaroha
12. Vibration and Frequency
13. Relation of Pitch with the Number of Vibrations
14. Janak Thata
15. Janya Raga
16. Ashray Raga
17. Grah, Ansh, Nyas : Vakra Swara, Kan Swara, Nyasa, Time of the Ragas
18. Purvanga and Uttaranga of Saptaka : Poorva and Uttar Ragas
19. Relationship of Vadi with the Tiem of Ragas
20. Chal-Achal-Thata-Sitar : Chal and Achal Thata, Zamzama, Jhala, Baj, Purab and Pachchimi Baj, Meend, Soot, Krintan, Kampan, Murki, Ghasit, Sparsh, Gamak, Andolan, Gat (Masitkhani and Razakhani) Sthayi, Antara, Toda, Bol, Akarshprahar and Apkarsh Prahar
21. The Relation of the Extent of Vibration with the Intensity of Sound
22. The Distinctive Features and Conditions to Follow Thata and Raga
23. Minor Difference between Shruti and Nada
24. Formation of Thatas and Ragas

25. Three Divisions of Ragas According to their Swaras and Time
i. Ragas having Komal Re, Dha
ii. Ragas having Shuddha Re, Dha
iii. Ragas having Komal Ga, Ni

26. Sandhiprakash Raga
27. Qualities and Defects of the Musician
28. Varieties of Tans
29. Classification of Instruments
30. Raga-Ragini Scheme : Different Schools of Raga-Ragini-System - Shiv-Mata, Hanumat-Mata, Krishna-Mata, Bharata-Mata, Criticism
31. The Prevalent form of Alap : Nom-Tom Alap, Aakar-ka-Alap, Sthayi Part, Sanchari Part, and Abhog Part
32. The use of Vivadi Swara
33. Kinds of Nibaddha Gana : Nibaddha Gana, Prabandh, Dhatu-udgraha, Melapak, Dhruva, Abhog, Antara, Division of Prabandha
34. Anibaddha Gana : Ragalap, Roop-Ka-lap, Alapti-Gana, Swasthan Niyam-ka-Alap
35. Shuddha, Chayalag and Sankirna Raga
36. The Relation of the Length of a Stretched Sring with the Pitch of Nad
37. Parmel Praveshak Raga
38. Comparison of the North Indian and South Indian Swaras
39. The Role of Adhvadarshak Swara in Determining the Time Theory of Ragas
40. Old Names of the Present Thatas
41. The Foundation of Thatas in Northern Music
42. Tirobhava-Avirbhava : Raga Hameer, Raga Bahar
43. Alpatva-Bahutva : Raga Sohini, Raga Jaijaivanti
44. Tal Notations of the following Tals with Thekas, Matras, Vibhags, Talis, Khalis : Teental, Jhaptal, Chartal, Dadra, Kaharva, Ektal, Tilwara, Roopak, Tivra, Jat-Tal, Deepchandi, Sooltal, Dhamar, Adachautal, Jhumra
45. Different Layakaris of Tals
46. Tabla Explanation of the Following : Kayada, Palta, Tihai, Mukhara, Tukada, Avartan, Tigun, Rela, Paran, Uthan, Kal, Kinds of Tal-Jati, Theka, Laggi, Lari, Peskhara, Sam, Khali, Tali, Vibhag, Grah (Sam, Visham, Atit, Anagat)
47. Ten Pranas of Tala
48. Laya : Tala, Avartan, Theka
49. Forms of Compositions : Dhrupad, Dhamar, Khyal, Lakshangeet, Thumri, Dadra, Tappa, Tarana, Chaturang, Swarmalika, sargam, Tirvat, Bhajan, Geet, Gazal
50. Brief History and Origin of the Instruments : Sitar, Tabla, Tanpura
51. Manner of Holding the Instrument (Sitar) while playing it.
52. Method of Tuning the different Strings of Sitar
53. Description of the various components of Sitar
54. Brief History & Description of the various parts of the Instruments
55. Tabla : Its History and Origin
56. Description of the various Parts of Tabla
57. Technique Producing Syllables on Tabla and Baya : (both individually and jointly)
58. Maner of holding the Instrument while Playing it
59. Method of Tunning Tabla
60. Life Sketch : Bharat, Ahobal, Mansingh, Vyankat-makhi, Tansen, Sadarang-Adarang, Bade Ghulam Ali, Ustad Fayyaz Khan, Ustad Allah-uddin Khan, Nathu Khan, Amir Khusro, Swami Haridas, Sharangadeva, Pt. Ravishankar
61. Simple Alankar for Practical
62. Contribution of Bhatkhande and Vishnu Diagambar : Ustad Naseer Aminuddin, Kesar Bai Kerkar, Dagar Brothers, Inayat Khan, Beeru Mishra
63. Practical Ragas : Bilawal, Khamaj, Yaman, Kaphi, Bhairava, Asavari, Bhoopali, Bihag, Durga, Desh, Bhairvi, Sarang, Bageshwari, Bhimpalasi, Piloo, Malkauns, Alhya Bilawal, Tilak Kamod, Jaunpuri, Kedar, Bahar, Hameer, Gaur Sarang, Marwa, Purvi, Shankara, Tilang, Kalingara, Patdeep, Jaijaiwanti, Kamod, Multani, Sohini
64. Comparison Between Ragas

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