B r rhythms (11 resultados)
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Hardcover. Condición: As New. Contents Foreword. Preface. Acknowledgements. 1. Performing arts an introduction. 2. Orissa the state and its culture. 3. Performing arts of Orissa an overview. 4. Odissi music as concert music. 5. Odissi music as cognate of Odissi dance. 6. Odissi music vis a vis Hindustani and Carnatic music. 7. S…ome treatises of Orissan performing arts. Conclusion. Appendices 1. Some eminent theoreticians and performers of Odissi Music ancient and modern. 2. Some famous research/teaching institutions for Odissi Music in Orissa. 3. Notations of some Odissi songs. 4. Important performing arts of Orissa. 5. Maps of Orissa ancient and modern. Bibliography. This is the first work on Odissi Music in English. Odissi dance is receiving growing recognition all over the world as an important classical dance system of India. Odissi music is a cognate of Odissi dance in every sense of the term. To use Odissi music as the accompanying music with an Odissi dance number or even to replace Odissi music with some other local variety in ones repertoire one must be acquainted with the genesis the cultural ethos and the technical subtleties associated with both Odissi dance and Odissi music. Ignorance of this leads to incongruous even ridiculous cross between Odissi dance and strange non Odissi music. Keeping this hazard in mind the book deals with the evolutionary history and the cultural background of Odissi music its use as a cognate of Odissi dance and as concert music (generally performed solo). Lastly there is a short comparative study of Odissi Hindustani and Carnatic music and discussion of the claim of Odissi music for classical status. The appendices contain a who's who of Odissi Gurus a list of some important research and training institutes maps and notations of some well known Odissi songs. 266 pp.
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Hardbound. Condición: As New. New. Contents Foreword. Preface. Scheme of transcription of Assamese words indicating pronunciation. Pronunciation of mising words. A note on transcription of Hindustani Classical Music. Some technical terms on Raga. 1. Assam an overview. 2. Bihu a reflection of Assam's ethos. 3. Changing melieo of…Bohag Bihu. 4. The performance. 5. The music. 6. The musical instruments. 7. Bihu in urban settings. Glossary. Bibliography. Personal interviews and recordings. Index. This book is an attempt to establish a discipline of academic importance of Bihu songs from an ethnomusicological perspective. Although a fairly good number of books and article have been written on these songs the need for considerable survey and research especially in its musical aspects is ow being felt particularly by those involved with its study as an academic pursuit. It is a result of an extensive field work hours of recordings (both video and audio) interviews of performers and also non performers to take their views about Bihu songs. This is a step towards fulfilling the need for research and creating awareness and interest in these preceless gems. 152 pp.
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Hardbound. Condición: As New. New. Contents 1. Introduction. I. Time and Rhythm 2. Metre and Tal in North Indian music. 3. Two gat forms for the Sitar a case study in the rhythmic analysis of North Indian music. 4. Culture cognition and additive rhythm A comparative case study. 5. Free rhythm ethnomusicology and the study of mus…ic without Metre. 6. Experiencing Indian music. 7. In time with the music the significance of entrainment for music research. II. Early sound recordings 8. Ethnographic wax cylinders at the British library national sound archive a brief history and description of the collection. 9. A.H. Fox strangways and The Music of Hindostan revisiting historical field recordings. III. Beyond the east west divide 10. Rock to Raga The many lives of the Indian guitar. 11. You can't fuse yourself contemporary British Asian music and the musical expression of identity. 12. From difference to fusion constructions of Indian and western music. 13. Sound and symbol The Indian in music. 14. Towards a theory of musical meaning (in India and elsewhere). 15. Comparing music comparing musicology. Glossary. Original publication details. References. Notes. Index. Music time and place is a collection of interlinked essays which deal with a wide range of issues concerning both Indian and Western music and musical thought. The essays are organised in three main sections. The first Time and rhythm discusses a number of interrelated questions concerning the organisation of music in time. The next section concerns the history of comparative musicology early sound recording particularly A.H. Fox Strangways classic book the music of Hindostan. Finally in Beyond the East west divide Clayton address the histories of Indian music in the west and western music in India and questions some commonly held notions of essential difference. The essays make significant and original contributions across a wide range of contemporary musicological debates. 296 pp.
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Hardbound. Condición: As New. New. Contents Preface. Scheme of transcription. Note on transcription. Introduction. I. Historical perspective 1. Ancient period. 2. Medieval period. 3. British period. II. Modern perspective 1. Post independence period. 2. Western Orchestra. 3. Role of other performing arts. 4. Role of media. 5. Ex…periments in Vadya Vrinda. III. Orchestral Components 1. Melody harmony and rhythm. 2. Musical compositions and notation. 3. Musical instruments. 4. Role of composer and conductor. IV. Problems and future prospects 1. Problems of orchestration in Indian music. 2. Future prospects of Vadya Vrinda. Bibliography. Index. This book explores the origin history and gradual development of the making of an Indian Orchestra i.e. Vadya Vrinda. It attempts to trace the path traversed by the Vadya Vrinda in context to the different sociological religious and cultural influences in different periods of music history. It deals with some important aspects of musicology such as melody harmony rhythm musical instruments etc. in a systematic manner which play a pivotal role in the making of a Vadya Vrinda. 140 pp.
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Hardbound. Condición: As New. New. Contents Foreword. Introduction. 1. Hindu rituals in Kerala. 2. Kshetram the Hindu temple of Kerala. 3. Kshetram Vadyam the ritual music of the Kerala temples. 4. Chenda Melam and Panchavadyam the orchestral forms. 5. The solo ensembles Thayampaka Keli Kuzhal Pattu and Kombu Pattu. 6. Anusthana…vadyam the smaller ritualistic ensembles. 7. Musical instruments in Kshetram Vadyam. 8. The Kshetram musician and ritual expert communities. Conclusion and outlook. References. Glossary. Kshetram Vadyam discography. Appendix. Index. This study explores the relationship of the Hindu religious rituals to the percussion dominated music genres in the South Indian state Kerala. It is both an introduction to the ritual performances and to the musical styles. It takes up the quest to investigate how ritual meaning is expressed through music it illuminates aesthetic beauty and the relative independent importance of the musical styles within the ritual context. The study investigates how and why the temple music ensembles are dominated by the ubiquitous drums and bronze cymbals and based on a sophisticated rhythm structure rather than on melody. Extended fieldwork within the musician communities in Kerala enabled the author Rolf Killius to arrange this work from the viewpoint of the musicians. As there are thousands of hereditary professional temple musicians in the districts of Central Kerala this work is mainly based on the oral knowledge of these communities however the few academic accounts of scholars were considered. The musician's perspective identified and illustrated through text photographs and tables should unfold the diversity of this musical culture. Thus Indian and percussion music aficionados and scholars alike should benefit from this study. 136 pp.
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Hardbound. Condición: As New. New. Contents Foreword. Preface. I. Articles on art and culture i. Articles on art and culture 1. Bharatanaatyam (salient features). 2. Varnam in Bharatanaatyam repertoire. 3. The classical arts. 4. Purush. ii. Lectures 1. Ouchityam in choreography (propriety in choreography). 2. Dance drama. ii. Pe…rsonalities 1. Periya Sarada Teacher. 2. Subbudu maama The man in black or art critic of the century. 3. Aasaan a Beacon light. iii. Social issues 1. Role of artists in promoting social change. 2. Role of the media in promoting classical arts. 2. Return of Bhaarata. iv. Politics 1. The next president. 2. President's Govt. of experts. 3. Kesri's death blow to the Congress. V. Letters to the editors 1. Rukmini Devi's birth centenary. 2. Cultural Fascism. 3. Diaspora Hauston Texes and Chicago. vi. Letters to administrative heads 1. Kerala Yuvajana Kala Matsaram (art competition among youth). 2. The Hon. Prime Minister. 3. The Ministry of Education and H.R.D. vii. Book review. 314 pp.
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Hardcover. Condición: New. 2nd Edition. Contents: Preface. 1. Development of music in Sanskrit/Swami Prajnananda. 2. The aesthetics of Indian Music/Dr. A.A. Bake. 3. The aesthetics of Indian Music and Dance/Shyamala Sharma. 4. Tradition and improvisation in Indian Music/Vijaya Raghava Rao. 5. Recent developments in musicology/Pr…of. P. Sambamoorthy. 6. Oriental music/Dr. Joseph Kuckertz. 7. Yakshagana/ Dr. V. Raghavan. 8. Kathakali/M.K.K. Nayar. 9. Heritage of Music in dramas/M. Hariharan. 10. Bhagavata mela: dance drama/S. Natarajan. 11. Muslim influence on Venkatamakhi and his school/Dr. K C D Braharpati. 12. Andhra's musical heritage/B. Rajanikanta Rao. 13. The Haridasas of Karnataka/Dr. G. Srinivasan. 14. Karnataka Music/R. Sathyanarayana. 15. Purandara Dasa and Thyagaraja/Rajasree. 16. Music education/Prof. R.C. Mehta. 17. The educational art of music/Prof. D.B. Kakkar. 18. Art and music in education/Nripendra C. Bhattacharya. 19. The origins of western music/Nicolas Nobokov. 20. Pythagorean Mathematics and music/Richard L. Crocker. 21. Temple curiosities: some strange musical objects/V M Narasimhan. 22. Contemporary music/Prof. P. Sambamoorthy. Index. The articles on this book represents a compilation of a wide range of articles on music by various authorities. The purpose of this volume is to bring under one cover some of the materials in an appropriate sequence so as to portray a cogent picture of the different facets of Indian Music and Dance as well as Western music. As such the compilation should provide the general reader as well as lover of music valuable and interesting information on the subject.
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Hardbound. Condición: As New. New. Contents Foreword. Preface. Appreciation. 1. What the scriptures say. 2. Shiva the Lord of dance. 3. Dancing sculptures the temples. 4. The glorious age of the Gangas. 5. The Gajapatis. 6. Oriya poets. 7. The renaissance years of Odissi. 8. Odissi dance the technique. 9. Odissi more technique.…10. Saatvika Abhinaya. 11. Nayikabheda and Nayakabheda. 12. The repertoire. 13. Aharya Abhinaya. 14. Vaachika Abhinaya. 15. From me to you Being a guru's daughter. Photo credits. Bibliography. Annexures. Odissi did exist as a distinctive style of dance about 2 000 years ago when Natyashastra one of the ancient Indian treatises on dance and dramaturgy was written. Aesthetic sensuousness flowing movements and rare lyrical grace within a classical framework have won for Odissi dance an ever increasing clientele during last three decades. Odissi What Why and How traces the origin and development of Odissi dance with a special emphasis on the renaissance years of Odissi the period which saw the efflorescence of Odissi as it came to be recognised as a prominent classical dance of India. The book also throws light on the technical aspects of Odissi based on Natyashastra Abhinaya Darpana and Abhinaya Chandrika. Detailed chapters have been devoted to Navarasas various moods of Nayika feet positions and more. A special section is dedicated to Aharya (adornments) and Vachika (Musical accompaniment of Odissi). The book aims to be a source of joy for Odissi dancers and connoisseurs alike. 124 pp.
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Hardcover. Condición: New. 2nd Edition. Contents: Preface. Pre-Trinity Period. 1. Jayadeva and Radha-Krishna cult. 2. Purandaradasa and Carnatic music. 3. Music of the Haridasas of Karnataka. 4. Margadarsi Seshayyangar and his compositions. 5. Musical compositions of King Shahaji of Tanjore. 6. King Shahaji's contribution to mus…ic. 7. Rare ragas dealt with by the musical trinity. 8. Kshetra pancharatna kritis of Tyagaraja. 9. Muthuswamy Dikshitar's Navagraha Kritis. 10. Dikshitar and Hindustani music. 11. Kshetra kritis of Muthuswami Dikshitar. 12. Shodasa Ganapati Kritis of Dikshitar. 13. Padavarnas of Swati Tirunal. 14. Rare ragas handled by Swati Tirunal. 15. Compositions of Tiruvotriyur Tyagayyar. 16. Tillana. 17. Darus in Carnatic music. 18. Pallavi in South Indian music. 19. Tamil Padas and their Vaggeyakaras. 20. Kuchipudi dance drama. 21. Rasa and Bhava in dance compositions. 22. Development of Indian and western musical scales. 23. Royal patronage and contribution to Indian music. 24. Musicology in Tamilnadu: a short survey. 25. Origin and development of Todi Raga. 26. A new theory of Kudumiyamalai inscription in music. 27. Inscriptions on music in Tamilnadu. 28. Two systems of music education. 29. Bhajana tradition in South India. 30. An ideal concert hall. Music in India was undivided and one singular tradition termed Indian music was existed till the invasion of the Mughals and Persians into the Northern part of India. The music and its growth that we see today hence became unchanged and un-impacted. The authors of this volume have edited and presented in this volume an extensive collections essays focusing on composers like Jayadeva, Puradandara Dasa, Haridasa composers from Karnataka, King Shahaji, Margadarsi Seshayyangar, Muthuswami Dikshitar, Swati Tirunal Maharaja, Tyagaraja Syama Sastri, Tiruvotriyur Tyagayyar and musical forms like Daru, Padavarna, Javali, Ragamalika, Tillana, Pallavi, Tamil Pada. Bhajana tradition, Kuchipudi, Music education, comparative study of Indian and Western music, Music therapy, Rasa and raga bhava, ethnomusicological studies, contributions by Royal patrons etc. are additional materials that one can find in this volume. We are sure the lovers of Indian Music in India and abroad would find the collection of the rare materials presented in this volume very useful, informative and resourceful and benefit expansion of their knowledge.
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Hardcover. Condición: New. Contents Foreword. Acknowledgements. Introduction. Pronunciation. 1. Nada (musical sound). 2. Raga (specific melodic forms). 3. Laya (Rhythm). 4. Kalpita sangita (compositions). 5. Vaggeyakaras (Composers). 6. Vadya (Musical instruments). 7. Parivartana (Change). Appendix. Glossary. Here is a unique bo…ok that brings together in one volume the twin systems of North and South Indian classical music. With a broad sweep it illuminates all the important aspects of Indian classical music. It looks at a traditional art form that has evolved over the last 2000 years and is still brimming with vitality today. This book offers a valuable perspective on Indian classical music its aesthetic values and philosophy. Sampradaya Sangita investigates the basic principles underlying nada raga laya creative extemporization and compositions. Classical music uses sound and time on the canvas of space. So this art is extremely subtle. Time is designed by percussion patterns in a symmetrical manner. In raga alapana time has an asymmetric rhythm. What is Raga music and how has it evolved into today's musical forms. You will find the answer within these pages. Raga and Tala are the ground of Indian classical music for the twin systems of Karnatak and Hindustani music. The chapter on Laya (rhythm) explains its integral part in music and how it differs from tala which is calculated frame for a song. Pre composed music in the form of Bandish and Krti is described in detail followed by brief biographies of maestros. The last chapter touches upon Sangita Sastra (theory and history of music) Gurukula (ancient teaching methods) and modern institutions concert music and the essential qualities of classical music. The moorings of Indian classical music are in ancient culture. This book sees it as a river beginning in the distant past that flows in today's time and space reflecting contemporary attitudes. This book satisfies the professional musician the scholar as well as the lay person. It is full of technical details of this complex art. At the same time it is attractive with its colour plates and profuse biographical sketches. 264 pp.
Editorial: B R Rhythms 2025
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Hardcover. Condición: New. 2nd Edition. Contents: Foreword. Introduction. I. Voice : The Musical Instrument: 1. Voice and its greatness. 2. The singing voice. II. The science of voice production: 3. The pitch mechanism. 4. Breathing and the voice. 5. The resonators. 6. The Acoustics of the voice. 7. The psychology of singing. II…I. The art of voice cultivation: 8. Voice-culture methods of different nations through the ages. 9. Solfa Syllables in Indian and other world music cultures. 10. Acoustical analysis of the Solfa Syllables Sarigamapadani. 11. Indian Music Treaties on Sapthaswaras "Sarigamapadani" and a critical study on Solfa Exercises in Carnatic Music. 12. Vowel exercises and technical forms for voice training. IV. Scientific methods of voice training: 13. Postulates based on biological features. 14. Vocal impurities and remedies. V. Ancients upon voice: 15. Ancient Indian texts on voice. 16. A study upon the Sairagunadoshas mentioned by the Sangita Lakshanakras in terms of modern knowledge of Anatomy and Physiology. 17. The ideal voice. Conclusion. Appendix -- Plates. Glossary. Bibliography. This book is the only book of its kind written on voice-culture for singers in English. Dr. Durga has done extensive research on the scientific methods of voice training in India and USA. She, being a performer herself of Indian Classical Music, has included in the book valuable solutions to eradicate common functional disorders, and detailed analysis of the Physiological, physics and psychological aspects of the voice as musical instrument. "An important maiden work in the field of voice culture for singers and I am sure the book will be useful to all vocalists" -- Dr. M. Balamuralikrishna, famous singer of Indian Classical Music and a multi-faceted personality about the original edition.".
