Showing 277–288 of 932 results
This book traces the evolution of Hinduism from ancient period to the modern age. It records Dravidian and Aryan symbiosis in Hinduism, and the impact of Greeks and British, Buddhism and Islam. Quoting liberally from Hindu sacred texts and related literature, this book enumerates the ethical and socio-political implications of Advaita Vedanta, delving into the working of self-consciousness and the falsity of the world.
This book traces the evolution of Hinduism from ancient period to the modern age. It records Dravidian and Aryan symbiosis in Hinduism, and the impact of Greeks and British, Buddhism and Islam. Quoting liberally from Hindu sacred texts and related literature, this book enumerates the ethical and socio-political implications of Advaita Vedanta, delving into the working of self-consciousness and the falsity of the world. It emphasises the significance of the thoughts of Adi Shankara and others in this context. The book will be very useful for students and scholars of Hindu religion and philosophy as well as general readers.
This book traces the evolution of Hinduism from ancient period to the modern age. It records Dravidian and Aryan symbiosis in Hinduism, and the impact of Greeks and British, Buddhism and Islam. Quoting liberally from Hindu sacred texts and related literature, this book enumerates the ethical and socio-political implications of Advaita Vedanta, delving into the working of self-consciousness and the falsity of the world.
This book traces the evolution of Hinduism from ancient period to the modern age. It records Dravidian and Aryan symbiosis in Hinduism, and the impact of Greeks and British, Buddhism and Islam. Quoting liberally from Hindu sacred texts and related literature, this book enumerates the ethical and socio-political implications of Advaita Vedanta, delving into the working of self-consciousness and the falsity of the world. It emphasises the significance of the thoughts of Adi Shankara and others in this context. The book will be very useful for students and scholars of Hindu religion and philosophy as well as general readers.
The author focuses on some of the contemporary scientific ideas vis-a-vis the achievements of old-world Hinduism in cosmogony, astronomy, meteorology and psychology. The book, in the process, unfolds some fundamental Hindu philosophical concepts.
Hinduism is not just a religion. It synonymizes the five-millennia of Indias cultural heritage. Which is unequivocally manifest in the Hindus architecture, sculptural art, music, mythology, Sanskrit literary classics, social institutions, and ethical/legal codes. And also in their complex philosophical systems addressing perpetually baffling questions concerning creation, existence, cosmic consciousness, reincarnation, and the like. Yet, ironically perhaps, not many know about the striking breakthroughs of Hindu sages in astronomy, mathematics, chemistry, medicine, metallurgy, and other ancient-time sciences leave alone a deficient awareness of the monumental treatises of Charaka, Aryabhatta, Bhaskara and Kautilya that still remain as landmarks in the scientific history. Here is a book trying to highlight how Hinduism of yore : both in its motivations and methodology, laid the foundations of modern scientific quest. Drawing on the prodigious mass of Vedic/post-Vedic Sanskrit writings, the author focuses specially on some of the contemporary scientific ideas vis-a-vis the achievements of the old-world Hinduism in cosmogony, astronomy, meteorology and psychology. Contextually, Iyengars book also unfolds the Hindu worldviews of creation, soul and determinism, among other fundamental philosophical concepts. Discerning readers will find Hinduism and Scientific Quest as much a useful read as the scholars of traditional Indian philosophy and history of science.
The author focuses on some of the contemporary scientific ideas vis-a-vis the achievements of old-world Hinduism in cosmogony, astronomy, meteorology and psychology. The book, in the process, unfolds some fundamental Hindu philosophical concepts.
Hinduism is not just a religion. It synonymizes the five-millennia of Indias cultural heritage. Which is unequivocally manifest in the Hindus architecture, sculptural art, music, mythology, Sanskrit literary classics, social institutions, and ethical/legal codes. And also in their complex philosophical systems addressing perpetually baffling questions concerning creation, existence, cosmic consciousness, reincarnation, and the like. Yet, ironically perhaps, not many know about the striking breakthroughs of Hindu sages in astronomy, mathematics, chemistry, medicine, metallurgy, and other ancient-time sciences leave alone a deficient awareness of the monumental treatises of Charaka, Aryabhatta, Bhaskara and Kautilya that still remain as landmarks in the scientific history. Here is a book trying to highlight how Hinduism of yore : both in its motivations and methodology, laid the foundations of modern scientific quest. Drawing on the prodigious mass of Vedic/post-Vedic Sanskrit writings, the author focuses specially on some of the contemporary scientific ideas vis-a-vis the achievements of the old-world Hinduism in cosmogony, astronomy, meteorology and psychology. Contextually, Iyengars book also unfolds the Hindu worldviews of creation, soul and determinism, among other fundamental philosophical concepts. Discerning readers will find Hinduism and Scientific Quest as much a useful read as the scholars of traditional Indian philosophy and history of science.
This book defines and surveys Hinduism, and elaborates its keywords. It consists of two parts. The first part is a general survey of Hinduism. Many terms which appear in the first part are elaborated in the second part. This volume enables readers to grasp the fundamentals of Hinduism.
Hinduism, due to its proteanness, is more a way of life rather than a creed. The Hindu tradition recognizes the Vedas as its foundational scripture, Hinduism itself being indigenously known as Vaidika Dharma. Shruti and Smriti are the primary sources of Hinduism, where the former connotes the Vedas that stand for the revealed wisdom and the latter stands for tradition. Smriti texts include law books like the Manusmriti, epics (Itihasa) like the Ramayana and Mahabharata, Puranas, Agamas, Darshana literature (philosophical systems), sometimes Buddhist and Jaina works, other than the numerous religious works in regional languages.
Hinduism was challenged by the rise of heterodox movements in the sixth century bce, especially Jainism and Buddhism. Their prolonged encounter and interaction led to the development of the philosophical schools of Hinduism. The advent of Islam and Christianity, and the origin of Sikhism, led to further developments in the Hindu thought system.
This book defines and surveys Hinduism, and elaborates its keywords. It consists of two parts. The first part is a general survey of Hinduism. It describes its primary sources of information and the historical trends within its study; the Great Tradition with its basic teaching and practices; the Little Tradition; and modern developments. Many terms which appear in the first part are elaborated in the second part, along with some additional terms.
This volume enables readers to grasp the fundamentals of Hinduism.
It is a wide-ranging survey of the north Indian tradition of classical music during the post-Independence period. The book is divided into six parts, which, based on the authors vast experiences, make complex musicological concepts accessible to non-academic readers.
Hindustani Music: A tradition in transition is a wide-ranging survey of the North Indian tradition of classical music during the post-independence period. Explicitly, this book addresses music lovers of above-average familiarity with Hindustani music, and their curiosity about its inner workings. It is, however, also a valuable reference for scholars and other writers on music. The book is based on the author’s long years of training as a musician, vast experience as an analyst of music, and an observer of the cultural environment. The book is divided into six parts. Part I articulates an Indian perspective on important societal, cultural, economic and technological drivers of Hindustani music. Part II discusses issues pertaining to presentation formats, and the structural and melodic aspects of Hindustani music. Part III deals with the notion of raga-ness, and the world of ragas. Part IV presents comprehensive backgrounders on the four major genres of vocal music Dhrupad, Khayal, Thumree, and Tappa. Part V features detailed fact-sheets on eight major melodic instruments of the Hindustani tradition Rudra Veena, Sitar, Surbahar, Sarod, Sarangi, Shehnai, Santoor, and the Indian classical (Hawaiian) guitar. Part VI presents a glossary of words in italics, a list of suggested readings, and an index. The book makes complex musicological concepts accessible to non-academic readers, and contributes significantly to widening the understanding of contemporary trends in Hindustani music. Written by an author of impeccable credentials as a musician, researcher, and author, this book is a very significant addition to the body of authoritative writing on 20th century Hindustani music.
It is a wide-ranging survey of the north Indian tradition of classical music during the post-Independence period. The book is divided into six parts, which, based on the authors vast experiences, make complex musicological concepts accessible to non-academic readers.
Hindustani Music: A tradition in transition is a wide-ranging survey of the North Indian tradition of classical music during the post-independence period. Explicitly, this book addresses music lovers of above-average familiarity with Hindustani music, and their curiosity about its inner workings. It is, however, also a valuable reference for scholars and other writers on music. The book is based on the author’s long years of training as a musician, vast experience as an analyst of music, and an observer of the cultural environment. The book is divided into six parts. Part I articulates an Indian perspective on important societal, cultural, economic and technological drivers of Hindustani music. Part II discusses issues pertaining to presentation formats, and the structural and melodic aspects of Hindustani music. Part III deals with the notion of raga-ness, and the world of ragas. Part IV presents comprehensive backgrounders on the four major genres of vocal music Dhrupad, Khayal, Thumree, and Tappa. Part V features detailed fact-sheets on eight major melodic instruments of the Hindustani tradition Rudra Veena, Sitar, Surbahar, Sarod, Sarangi, Shehnai, Santoor, and the Indian classical (Hawaiian) guitar. Part VI presents a glossary of words in italics, a list of suggested readings, and an index. The book makes complex musicological concepts accessible to non-academic readers, and contributes significantly to widening the understanding of contemporary trends in Hindustani music. Written by an author of impeccable credentials as a musician, researcher, and author, this book is a very significant addition to the body of authoritative writing on 20th century Hindustani music.
It studies the concept of form in the context of art, specifically Hindustani music. It investigates the underlying philosophical aesthetics and some aesthetical concepts and analyses the basic forms of raga and tala.
With its roots in the Samaveda (which treats it as a divine art), music in India has a long, splendid tradition. Over the centuries, it has absorbed fresh influences and experimented with new forms to finally evolve into two meticulously codified classical systems: Hindustani and Carnatic. In todays growing library of writings on Hindustani music, Anjali Mittals research is yet another valuable addition adopting, as it does, a viewpoint which has been neglected so far, namely, the viewpoint of contemporary western aesthetics. It is for the first time that this monograph examines the concept of form in Hindustani classical music. In this context, analytic attention has been focussed on some select compositions in dhruvapada, dhamar, tarana, vilambit and drut khyal genres of Hindustani classical vocal music. A wide variety of drut tanas has also been analysed in terms of notation and linear diagrams. Such diagrams, in fact, distinguish the present volume. Analysis of some rhythm-cycles and rhythmic patterns is another feature of this book. Thoroughly documented and written in a jargon-free language, the study includes a contextual discussion of aesthetics, artistic expression, aesthetic predicates and, above all, the concept of artistic form. The work may be expected to interest all those who want an analytic understanding of what form (or bandisha) means in the region of Hindustani classical vocal music.
A panoramic view of Hindustani art music, for educated readers with some familiarity in it, with an informed perspective covering major genres of this musical stream, instruments in vogue, with a brief history, by an acclaimed author and musician.
Stating that Hindustani music should be rightly termed Art music and not classical music, the book begins by discussing the features of Art music and presents an approach to appreciating Hindustani music. It provides a detailed understanding of the components of the raga experience in Hindustani music, including their time theory and the role of Gharanas of the musical tradition.
It deals with genres of raga-based vocal music which have been performed over the last five centuries: Dhrupad, which has its moorings in devotional music; Khayal vocalism shaped by Sufi influences; the thumree, which originated as an accompaniment to the Kathak dance; and the tappa, adapted from the songs of camel drivers in the north-west frontier. It takes up the use of instruments in Hindustani music, especially the Rudra Veena, Sitar, Surbahar, Sarod, Santoor, the Shehnai, Pakhawaj, the Hawaiian Guitar and many others, giving an account of their origin, performing styles and lineages relating to them.
Throughout, the emphasis is on contemporary trends in Hindustani music and its prospects in the future. It mentions the significant practitioners of Hindustani music, both vocal and instrumental.
The volume will interest lovers of Indian music and also scholars who want to have a greater understanding of its traditions, its contemporary appeal and trends in practice.
A panoramic view of Hindustani art music, for educated readers with some familiarity in it, with an informed perspective covering major genres of this musical stream, instruments in vogue, with a brief history, by an acclaimed author and musician.
Stating that Hindustani music should be rightly termed Art music and not classical music, the book begins by discussing the features of Art music and presents an approach to appreciating Hindustani music. It provides a detailed understanding of the components of the raga experience in Hindustani music, including their time theory and the role of Gharanas of the musical tradition.
It deals with genres of raga-based vocal music which have been performed over the last five centuries: Dhrupad, which has its moorings in devotional music; Khayal vocalism shaped by Sufi influences; the thumree, which originated as an accompaniment to the Kathak dance; and the tappa, adapted from the songs of camel drivers in the north-west frontier. It takes up the use of instruments in Hindustani music, especially the Rudra Veena, Sitar, Surbahar, Sarod, Santoor, the Shehnai, Pakhawaj, the Hawaiian Guitar and many others, giving an account of their origin, performing styles and lineages relating to them.
Throughout, the emphasis is on contemporary trends in Hindustani music and its prospects in the future. It mentions the significant practitioners of Hindustani music, both vocal and instrumental.
The volume will interest lovers of Indian music and also scholars who want to have a greater understanding of its traditions, its contemporary appeal and trends in practice.
The book seeks to weigh some basic facts and concepts of Hindustani Sangeet (music, rhythm and Kathak dance) against the art theories of Susanne K. Langer, an eminent aesthetician of the recent past, incorporating numerous illustrative references to Hindustani sangeet.
The book is decidedly the very first of its kind. It seeks to weigh some basic facts and concepts of Hindustani sangeet (music, rhythm, and Kathak dance) against the art theories of Susanne K. Langer, an eminent aesthetician of the recent past; but nowhere without meticulous attention to the text of her writings. The expression theory of art has for long dominated the history of aesthetics. At the hands of Langer, however, the theory takes a new turn. She conceives of art not as a direct self-expression of the artist’s immediate affective state, but as a symbolic expression of his knowledge of what she terms variously as felt life, sentience, or forms of feeling. Drawing freely upon examples from the region of Hindustani sangeet, the present book accepts Langer’s protest against the popular view of artistic expression, but contends that there is a good deal in our music and dance which has nothing to do with feeling, and is admired simply because of its sweetness, clarity, shapeliness, and accordance with grammatical norms. In the chapter on music, while discussing Langer’s emphasis on commanding form in a total performance, the author proposes a quite new definition of raga which seeks to integrate the various points in its traditional characterizations. The third chapter too, which deals with Langer’s view of rhythm, is not merely explanatory, but ventures to propose a fresh and fairly defensible definition of rhythm. The closing chapter, devoted to dance, not only essays to meet some key objections to Langer’s writing on this art, but clarifies some atypical language that she uses in this context: apparition of vital powers; the dynamic image; virtual realities; and the created, superhuman dance-personality. But perhaps the two most striking features of the book are: first, a lucid exposition of the essentials of Langer’s aesthetics in the opening chapter; and, second, abounding illustrative references to Hindustani sangeet.
This book looks at Hindustani Sangeet that is, music, rhythm, and (Kathak) dance explicitly in relation to philosophy and philosophers of art. The other key features of this volume are a quite original (aesthetic) way of reflecting on Kathak dance, and a painstaking discussion of how exactly our music may be said to be spiritual.
There are three major ways of looking at Hindustani sangeet. An easy-to-follow discussion of its basic concepts is one. A truthful and sympathetic, yet not merely laudatory, account of the life and art of some of its masterly exponents is another. Both these approaches have been fairly common so far. The third way, which has not yet received the attention it deserves, tries to dwell upon Hindustani music, rhythm, and (Kathak) dance explicitly in relation to philosophy and philosophers of art. It is from this point of view that the present book should be welcome. It does not, however, overlook the first two approaches. Besides quite a few essays that explore the aesthetical aspects of Hindustani music, the book takes a renovative look at Kathak dance, and engages the reader in a discussion of how far our music can be regarded as spiritual. These and some other key features should make this book acceptable to both rasikas and musicologists.
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