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.
$42.00
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.
- Hindustani Music and the Aesthetic Concept of Form $32.00
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.
- Art, Beauty and Creativity $55.00
When the 18th century German philosopher, A.G. Baumgarten first introduced Aesthetics as an academic discipline to deal with the philosophy of beauty, he couldnt possibly have anticipated the controversies that have lately been raised by logical positivists, analytical schools, and even linguists -controversies questioning the validity, the very legitimacy, of a philosophical inquiry into beauty, art and creative processes. Notwithstanding the relatively more recent usage of the term proper, Aesthetics has a millennia-long history: beginning, in the West, with the old-world Greek philosophers, like Pythagoras, Plato, and Aristotle; and, in India, with the Vedic writings, more specifically, Bharata. Dr. Shyamala Guptas book is indisputably a painstaking effort trying to chart the historical progression of aesthetics: both Indian and Western -with focus not only on its evolutionary landmarks, but on its important concepts and theories as well. Schematically structured into two parts, Part 1 of the book examines the status of Indian aesthetics: its theories of rasa and dhvani, and, besides these, of its world- view of art. In its Part 2 are traced the development ofWestern theories of art and beauty, together with their attendant issues appearing, from time to time: from the days of ancient Greek philosophers to contemporary thinkers. Additionally, the authoress also tries to show how art is positioned vis-a-vis morality, science, sport and culture. A comprehensive, meticulously updated perspective on aesthetics, the book is sure to interest anyone concerned with the discipline: whether as a specialist, a student or a general reader.
- Avenues to Beauty $24.00
This book may well be expected to interest one and all, if only because of the diversity of its content and the way it has been presented.
It has something of value for lovers of both contemporary and traditional thinking on the arts. Essays on Aesthetics Today, The Quest for Key Aesthetic Concepts and The Aesthetic Attitude relate explicitly to present-day aesthetics; and the one on Rasa Theory may well be able to provide some new insights to those who are not averse to looking anew at this impressive foray of traditional Indian thinkers into the region of aesthetics.
However, the essay which is most likely to draw and hold readers attention because of the tantalizing appearance, so to say, of its very subject is the one on Music and Silence. Very few aestheticians have written on it so far; and nowhere, except in this book, is the reference all along to Hindustani music. Nor has our rhythm ever been written on in the way it appears in this book, in terms of the following essays: Hindustani Rhythm and Aesthetic Theory and Hindustani Rhythm and an Aesthetical Issue.
As for the essay on Attenboroughs classic film Gandhi, it may well make readers realize, in happy wonderment, how much they failed to mark when they saw it. Indeed, there is no reason why analytic writing on art should not make us ever more sensitive to the numberless creative devices it employs with delightful effect. - Celestial Nagasvaram $40.00
Nagasvaram, worlds loudest non-brass acoustic instrument, is known as mangala vadyam (auspicious instrument), and raja vadyam (king of all instruments). This popular wind-group musical instrument is well known all over the south Indian states, more specifically in Tamil Nadu. Its origin is associated with the Thiruvarur Temple and its legacy continued all through the Pallavas, Colas, Pandyas, Nayakas, and Marathas. It has imprinted its sheen on all the rituals, especially, on the temple festivals and marriages.
This book makes an in-depth study of the history of evolution, penetration and growth of nagasvaram into the cultural moorings of south India over a period of 800 years. It makes a systematic study of nagasvaram (myths associated with it, its making, types, etc.), its accompanying instruments, its relevance in temple festivals, marriages, the traditions associated with nagasvaram, its prevalence and acceptability in Andhra Pradesh, Karnataka and Kerala, in addition to Tamil Nadu where it rules the roost. It widely introduces the great maestros of nagasvaram, for whom it was a nishkama karma.
Kings, temples and mathas were the promoters of this blissful instrument. At present this artform faces severe challenges from the all-pervasive Western musical instruments. The author suggests ways and means of how to maintain the legacy of nagasvaram live, and the need to preserve the rich heritage of our musical tradition for the benefit of our posterity to realize the Supreme Bliss in their life.
This book, rare of its kind, will enthrall those who are keen on instrumental music, especially the faculty, students, and professionals in the field of music, religion and art. - Elements of Hindustani Classical Music $30.00
Hindustani classical music, a jewel in the crown of the Indian musical tradition, has become increasingly popular in South India and abroad over the last few decades. This book attempts to present a detailed and comprehensive discussion of the fundamental concepts and aspects of Hindustani classical music. It begins with an account of the history and evolution of Hindustani classical music by taking up developments in a chronological order. It explains a number of terms and processes involved in the performance of Hindustani classical vocal music. In an interesting discussion, it mentions the various famous gharanas of the genre and deals with the life-histories of some of their eminent musicologists and singers. The musical instruments which are used in accompaniment to the vocal singing in Hindustani music are described. It also details the rags which are frequently presented in contemporary musical concerts, highlighting the important features of each.
The book will be useful to all those who wish to learn and acquire knowledge of Hindustani classical music. It will be of interest to all practitioners of Hindustani classical music.
