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.
Original price was: ₹1,250.00.₹1,125.00Current price is: ₹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!Celestial Nagasvaram Original price was: ₹1,200.00.₹1,080.00Current price is: ₹1,080.00.
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. - Sale!Hindustani Sangeet and a Philosopher of Art Original price was: ₹850.00.₹765.00Current price is: ₹765.00.
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.
- Sale!Elements of Hindustani Classical Music Original price was: ₹750.00.₹675.00Current price is: ₹675.00.
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. - Sale!Art, Beauty and Creativity Original price was: ₹1,650.00.₹1,485.00Current price is: ₹1,485.00.
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.
- Sale!Art of Tabla-Rhythm Original price was: ₹550.00.₹495.00Current price is: ₹495.00.
This 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.
