-
Shri Sangita Kaladha...
Shri Sangita Kaladhara; by Dahyalala Shivarama; Hindi translation by Bihari Byohara and Chetna Jyotisha Byohara
by: Dahyalal Shivram , Anil Bihari Byohar , Chetana Jyotish Byohar , Prem Lata SharmaThis book was written by an unusual royal court poet of Bhavanagar (Gujarat) between 1885 and 1900. It benefits those readers, music lovers and singers who are interested in having knowledge of our ancient musicology. This book tries to project the style and suras prevalent from ancient to the modern times, and is a very useful guide for the music critics.
₹1,250.00 ₹1,125.00
ISBN: 9788124603635
Year Of Publication: 2006
Edition: 1st
Pages : xlii, 546
Language : Hindi
Binding : Hardcover
Publisher: D.K. Printworld Pvt. Ltd.
Size: 29 cm.
Weight: 2300
This book was written by an unusual royal court poet of Bhavanagar (Gujarat) between 1885 and 1900. It benefits those readers, music lovers and singers who are interested in having knowledge of our ancient musicology. This book tries to project the style and suras prevalent from ancient to the modern times, and is a very useful guide for the music critics.
-
Sale!Folk Songs from Uttar Pradesh
₹550.00₹495.00Blowing of a conch-shell and/or ringing of a hand bell and/or singing a song to welcome the evening twilight in front of a tulsi plant is a nostalgic scene from Indias past. For the majority of the young Indian population, this daily routine is only depicted on picture postcards or in Bollywood movies. Folk songs in this book were recorded in the 1970s. Since Independence, India has been undergoing fast technological advances; a wave of new internationalism is absentmindedly sweeping away rural traditions. Singing and playing of traditional folk songs and ensembles for appropriate ceremonies are becoming less and less popular; instead, movie songs and modern brass bands are appreciated. Each folk song in this collection is like an artefact in an archaeological museum. These songs tell the story and customs of celebrating life-cycle ceremonies, welcoming seasons, and retelling our mythology. The songs are given in vernacular Hindi language, transliterated, and translated, to facilitate understanding by readers with different backgrounds. The original field recordings have been deposited at the Archives and Research Center for Ethnomusicology of the American Institute of Indian Studies at Gurgaon, Haryana, India, where they are available for listening and recording details.
-
Sale!Hindustani Music ₹790.00
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.
-
Sale!Art of Tabla-Rhythm
₹550.00₹495.00This authoritative work deals comprehensively with Tabla rhythm, focusing on the performed art with an eye to its history and aesthetics. It is aimed at the Tabla student, the Tabla performer, as well as the inquiring listener of Hindustani music, for whom it encapsulates a Tabla practitioner’s knowledge in these matters acquired over a lifetime of learning and teaching. Beginning with the evolution of the Tabla, the book explains the technique of producing the basic bols. It further describes the way to do reyaz on the Tabla, to maintain the instrument through changing seasons, and to raise and moderate its pitch, besides other practical directions. The author explains the principal compositions that make up a standard Tabla recital, and how they may be played in solo and sangat contexts. The major gharanas of Tabla are discussed critically, and their notated compositions are provided in both Roman and Devanagari scripts. The CD accompanying the book carries samples of the tabla of these gharanas recorded under the author’s direction, as well as demonstrations of compositions used as illustrations in the book. Grounded in traditional learning in Tabla rhythm, the book is written with a rational, empirical mind, and in a lucid manner all along which makes it accessible to a wide range of musicians and listeners.
-
Sale!Intercultural Dialogue and the Human Image
₹600.00₹540.00This book, with a foreword by Dr. Kapila Vatsyayan, incorporates Prof. Maurice Friedmans lectures, discussions and exchanges which took place in the Intercultural Dialogue at many levels. The integral dialogical approach of Prof. Friedman within the framework of the human image, coincides with the holistic vision of the ongoing work at the IGNCA. Prof. Friedmans major contribution in philosophy is in providing continuity to the new dialogical trend of thought. There was a time when philosophy was conceived as purely thought-oriented, self-oriented, and too far removed from the existential, natural order of human existence. The image of man that emerged from this abstraction was also a conceptual I. The new trend, gives priority to existence, experience, and an image of the human that precedes and develops through every type of personal encounter we have with the other. This experiential framework gives an orientation to philosophical anthropology, philosophy of art, philosophy of social sciences, philosophy of religion and moral philosophy. It rejects the distinction between first order and second order level and sees thought and reflection as in the process of existential becoming of the human. Professor Friedmans original contribution to philosophy may be indicated at different levels: 1) Developing a complete yet open-ended dialogical framework by pointing to the image of the human as central; 2) Bringing out, in a thoroughgoing way, the implications of the image of man for moral philosophy. This existential ethics, which is different from Sartre, is of great significance in our times; 3) Suggesting a new philosophy of literature by stressing the human image as a direction and not as an ideal in the literary works of Aldous Huxley, T.S.Eliot, Hermann Hesse; and, 4) Pointing to the important dimension of dialogical psychotherapy where the relationship between the therapist and the client is central; and, it is this meeting alone which may heal the atrophied personal center.
-
Sale!Rasa in Aesthetics ₹590.00
The Indian tradition of criticism is over two millennia old. And its rasa theory has, from the beginning, essentially influenced authors, connoisseurs and art critics alike. First expounded sometime between the 1st century bc and the fourth century AD in the eminent aesthetician, Bharata’s Natya Shastra, rasa theory deals with the ‘emotive content’ of a work of art — how it is depicted, inferred and transmitted. Dr. Patnaik’s book is a unique effort that demonstrates, with diverse examples, the universality of this ancient theory and its applicability to modern Western classics. Elucidating afresh the concept of rasa and all its nine primary kinds largely on the basis of Natya Shastra of Bharata and the commentaries of the tenth-century aesthetician, Abhinavagupta, the book investigates the validity of rasa theory as an aesthetic, more specifically, a literary theory, and how its canons are applicable to modern Western literature as well as Chinese love lyrics and Japanese haiku poems. Dr. Patnaik’s transcultural exploration, thus, covers all major genres of literature — poetry, drama and fiction; and also major writers — Lawrence, Mayakovsky, Kafka, Camus, Conrad, Hemingway, Faulkner, Marquez, Eliot, Hesse, O’Neill, Ionesco, Beckett, Lorca, Neruda and several others. In emphasizing the universal validity of the rasa theory, the author considers certain modern problems relevant to text, meaning and readers’/audiences’ response as well. Very few are the examples of applied rasa theory even in Sanskrit and other Indian literatures, leave alone its application to Western creative writing. This book, with its bold framework and lucid style, should, therefore, fascinate the scholars of Indology, Indian aesthetics and, above all, comparative literary criticism.
