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Books > Performing Arts > ADA Chowtal on Sitar (Anthology of a Poorav Baj)
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ADA Chowtal on Sitar (Anthology of a Poorav Baj)
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ADA Chowtal on Sitar (Anthology of a Poorav Baj)
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About the Book

The richness of Indian music lies in its sentiments of the Rasa, that springs rhythmic patterns called as the Taal, and each Taal has its own thrilling effects of excitement, which acts on its own way upon all human beings.

Only a few out of many obscure Taals current at present, Ada Chowtal is one of such. That was formerly common and popular all musicians even a few decades ago. Unfortunately, due to lack of practice and non-availability of the traditional compositions set in this Taal, it is now on the way of its extinction.

Illustrious essays or the Gata are exhibited in this little book. Though rare,they also represent the cultural heritage of the traditionalists of the by-gone days. Ten parent scales excluding the male Puriya-Dhanashree of the modern system of music are illustrated at length in the text.

The present work is a concise presentation of Rezakhani Baj on a few melodious Raagas-all set only in Ada Chowtal. It covers the courses of studies as prescribed by different Universities for their various examinations in music. The compositions are symbolic by itself. Hence, the awakening of the latent talents in all lovers of Sitar of all times.

This is the only rare book of reference to Poorav Baj in Ada Chowtal.

About the Author

Shri Shripada Bandyopadhyaya acquired a deep and sound knowledge of the theory and practice of Hindustani Classical music and in the art of playing Sitar from the unequivocal masters. Pandit Bhatkhande, the late Ustad Alauddin khan, the ardent disciple of Ustaad Wazir khan-the great Veenakar and last representative of Sania Gharana. He got the degrees of Sangeet and Vaidya Visharad, B. Mus.

Shi Bandyopadhyaya was a member was a member of the Faculty of Music and Fine Arts, University of Delhi and of the famous Bhatkhande Sangeet Vidyapith, Lucknow.

He served the faculties of Music of the leading Universities either as a member or as an examiner, or as both. He was working in the capacity of Principal of Bhartiya Sangeet Vidyalaya, Delhi. He is a noted author of the books: Indian Music through the Ages (1985), Sangeet Bhashay (1985) (In Hindi), Indian Music through the Ages (1985), Techniques of Sitar (1988) and Wisdom of Raga (1991).

Introduction

The evolution, growth and dissolution of all animate inanimate objects of this universe is due mainly to the five et ernal elements of nature, called by the ancient seers of the orient as prakriti, i.e. the nature.

The term prakriti in other words, the nature or the character not only refers to the tendencies, behaviours and also the habits and costoms of all living beings on earth, but the bounteous resources of immense varieties unique of their own availed spontaneously by all creatures and things are also expressed in the aforesaid word prakriti-the nature.

The earth or soil, one of the substances of nature, provides the essential victuals full of vitamins, minerals and proteins of all kinds not only to all terrestrial bodies but also the shrubs, plants and trees to keep them all physically fit and mentally resolute to struggle for existance and fulfil numerous desires-the vasana, their own creations.

Vasana, the desire or will is the root cause of all tendencies either good or evil, that generates from the atmosphere, surroundings, and associates in which one lives and also the food and water he or she eats and drinks to keep up the vitality. Such vicissitude leads all living beings, particularly, the man kind to be sensitive, observant and admirers of beauty in all phenolmenons of nature by birth.

As a matter of fact, everything in this world is under direct influence and control of numerous effects of prakriti-the nature, that is why, the wise men of the east and the savants of the west, since the dawn of civilisation striving very hard in search and research of the mystries of the invisible omnipotent through its perceivable medium universally known as the Nature or PRAKRITI.

Audible sound is the consequence of the union of energy or heat and ether, the two most important among the five main elements of nature, that acts upon the hearing organs of all creatures and induces them to hear and understand the secrecy of the sweet language of and enjoy the same according to ones intelligence and power of grasping owned by birth as an instinct, called Samskar.

The effect of sweet and melodious on human beings is of course inevitable and amazing. Inspite of that it is too difficult and almost impossible to analyse and explain the feelings, that are beyond the rang of common conception of all man kind on reasonable grounds.

These fundamentals are all explained at length by all men of letters of far off days, in almost all treatises on religion, myths and music of all the nationals of the world in an emotional way of their own. Hence, it is upto persons concerned either to believe or disbelieve their conjectures according to the knowledge and experience of the medias concerned.

Nevertheless, the term nature (prakriti), instincts (samakar) and desires (vasana) are all related to each other and they are reciprocal. Consequently, their action and reactions o all living beings on earth are not only unavoidable but also a must. Owing to all these inborn propensities owned normally more or less by all human beings, few of them gifted with the talents by providence took fancy to it and cultured music, the out come of judicial combinations of melodious sound and thrilling rhythm in a fanciful way, so as to devise new tunes and also set them all into different rhythmic articulations. These articulations or different patterns of rhythm are called as Tal and the tunes or modes as Rag.

It is worthwhile to note here, that one and the same Rag of Hindustani music, if and when is set into different Tals, produces feelings and experience of varied nature. Consequently, the effect of each and every Rag depends absolutely on rhythm, that elevates joy and pleasure in the minds of the listeners.

All conjectures expressed by the experts about aesthetics-the beauty, i.e. the sweetness in music, the only source of peace and pleasure of the body and mind, had always been controversial. As none could state firmly on scientific lines, the direct and easiest way to elevate and maintain the various aspects of feelings-the outcome of Rag and Tal, that makes all cheerful and happy. Yet, it has throughout been unanimously acknowledged by all musicologists of all times, that the three fold arts of music is the only source pleasure and happiness to mankind.

It is also to be stated here, that the observers of fine arts and culture believed firmly, that the effect of sweet sound produced from all types of wind, plucked and bowed instruments acts marvellously upon the exhausted brain of all human folk, sooths and also alleviates their all fatigues of the body and mind.

The instant effect of rhythm on all creatures on earth is full of live and energy- the prime factors of all sources of physical actions and enthusiasm.

The idea underlying the aforesaid statement, may also be expressed by stating, that at the helm of anything and everything created in this world, there exists an eternal law of harmony or rhythm. Pleasure and pain are its everlasting twins. Pleasure is the expression of harmonious relation between the parts, whatever it might be, whereas, the lack of harmony is at the root of pain and disgust.

Contents

Exordiumiii
Abbreviatonv
Introduction3
Ada Chowtal8
Dhamar, Jhumra & Deepchandi10
Symbols & Alankar12
Observations14
Delineations of Mdes:14
1Alahiya Vilabal15
2Asavari20
3Bageshwari26
4Behag30
5Bhairavi34
6Gaud-Sarang39
7Gurjari Todi44
8Hindole49
9Jaijaivanti53
10Kamode56
11Khamach60
12Puriya63
13Todi67
14Yaman71

Sample Pages





ADA Chowtal on Sitar (Anthology of a Poorav Baj)

Item Code:
NAM116
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2000
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English
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8.5 inch x 5.5 inch
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82
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Weight of the Book: 85 gms
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About the Book

The richness of Indian music lies in its sentiments of the Rasa, that springs rhythmic patterns called as the Taal, and each Taal has its own thrilling effects of excitement, which acts on its own way upon all human beings.

Only a few out of many obscure Taals current at present, Ada Chowtal is one of such. That was formerly common and popular all musicians even a few decades ago. Unfortunately, due to lack of practice and non-availability of the traditional compositions set in this Taal, it is now on the way of its extinction.

Illustrious essays or the Gata are exhibited in this little book. Though rare,they also represent the cultural heritage of the traditionalists of the by-gone days. Ten parent scales excluding the male Puriya-Dhanashree of the modern system of music are illustrated at length in the text.

The present work is a concise presentation of Rezakhani Baj on a few melodious Raagas-all set only in Ada Chowtal. It covers the courses of studies as prescribed by different Universities for their various examinations in music. The compositions are symbolic by itself. Hence, the awakening of the latent talents in all lovers of Sitar of all times.

This is the only rare book of reference to Poorav Baj in Ada Chowtal.

About the Author

Shri Shripada Bandyopadhyaya acquired a deep and sound knowledge of the theory and practice of Hindustani Classical music and in the art of playing Sitar from the unequivocal masters. Pandit Bhatkhande, the late Ustad Alauddin khan, the ardent disciple of Ustaad Wazir khan-the great Veenakar and last representative of Sania Gharana. He got the degrees of Sangeet and Vaidya Visharad, B. Mus.

Shi Bandyopadhyaya was a member was a member of the Faculty of Music and Fine Arts, University of Delhi and of the famous Bhatkhande Sangeet Vidyapith, Lucknow.

He served the faculties of Music of the leading Universities either as a member or as an examiner, or as both. He was working in the capacity of Principal of Bhartiya Sangeet Vidyalaya, Delhi. He is a noted author of the books: Indian Music through the Ages (1985), Sangeet Bhashay (1985) (In Hindi), Indian Music through the Ages (1985), Techniques of Sitar (1988) and Wisdom of Raga (1991).

Introduction

The evolution, growth and dissolution of all animate inanimate objects of this universe is due mainly to the five et ernal elements of nature, called by the ancient seers of the orient as prakriti, i.e. the nature.

The term prakriti in other words, the nature or the character not only refers to the tendencies, behaviours and also the habits and costoms of all living beings on earth, but the bounteous resources of immense varieties unique of their own availed spontaneously by all creatures and things are also expressed in the aforesaid word prakriti-the nature.

The earth or soil, one of the substances of nature, provides the essential victuals full of vitamins, minerals and proteins of all kinds not only to all terrestrial bodies but also the shrubs, plants and trees to keep them all physically fit and mentally resolute to struggle for existance and fulfil numerous desires-the vasana, their own creations.

Vasana, the desire or will is the root cause of all tendencies either good or evil, that generates from the atmosphere, surroundings, and associates in which one lives and also the food and water he or she eats and drinks to keep up the vitality. Such vicissitude leads all living beings, particularly, the man kind to be sensitive, observant and admirers of beauty in all phenolmenons of nature by birth.

As a matter of fact, everything in this world is under direct influence and control of numerous effects of prakriti-the nature, that is why, the wise men of the east and the savants of the west, since the dawn of civilisation striving very hard in search and research of the mystries of the invisible omnipotent through its perceivable medium universally known as the Nature or PRAKRITI.

Audible sound is the consequence of the union of energy or heat and ether, the two most important among the five main elements of nature, that acts upon the hearing organs of all creatures and induces them to hear and understand the secrecy of the sweet language of and enjoy the same according to ones intelligence and power of grasping owned by birth as an instinct, called Samskar.

The effect of sweet and melodious on human beings is of course inevitable and amazing. Inspite of that it is too difficult and almost impossible to analyse and explain the feelings, that are beyond the rang of common conception of all man kind on reasonable grounds.

These fundamentals are all explained at length by all men of letters of far off days, in almost all treatises on religion, myths and music of all the nationals of the world in an emotional way of their own. Hence, it is upto persons concerned either to believe or disbelieve their conjectures according to the knowledge and experience of the medias concerned.

Nevertheless, the term nature (prakriti), instincts (samakar) and desires (vasana) are all related to each other and they are reciprocal. Consequently, their action and reactions o all living beings on earth are not only unavoidable but also a must. Owing to all these inborn propensities owned normally more or less by all human beings, few of them gifted with the talents by providence took fancy to it and cultured music, the out come of judicial combinations of melodious sound and thrilling rhythm in a fanciful way, so as to devise new tunes and also set them all into different rhythmic articulations. These articulations or different patterns of rhythm are called as Tal and the tunes or modes as Rag.

It is worthwhile to note here, that one and the same Rag of Hindustani music, if and when is set into different Tals, produces feelings and experience of varied nature. Consequently, the effect of each and every Rag depends absolutely on rhythm, that elevates joy and pleasure in the minds of the listeners.

All conjectures expressed by the experts about aesthetics-the beauty, i.e. the sweetness in music, the only source of peace and pleasure of the body and mind, had always been controversial. As none could state firmly on scientific lines, the direct and easiest way to elevate and maintain the various aspects of feelings-the outcome of Rag and Tal, that makes all cheerful and happy. Yet, it has throughout been unanimously acknowledged by all musicologists of all times, that the three fold arts of music is the only source pleasure and happiness to mankind.

It is also to be stated here, that the observers of fine arts and culture believed firmly, that the effect of sweet sound produced from all types of wind, plucked and bowed instruments acts marvellously upon the exhausted brain of all human folk, sooths and also alleviates their all fatigues of the body and mind.

The instant effect of rhythm on all creatures on earth is full of live and energy- the prime factors of all sources of physical actions and enthusiasm.

The idea underlying the aforesaid statement, may also be expressed by stating, that at the helm of anything and everything created in this world, there exists an eternal law of harmony or rhythm. Pleasure and pain are its everlasting twins. Pleasure is the expression of harmonious relation between the parts, whatever it might be, whereas, the lack of harmony is at the root of pain and disgust.

Contents

Exordiumiii
Abbreviatonv
Introduction3
Ada Chowtal8
Dhamar, Jhumra & Deepchandi10
Symbols & Alankar12
Observations14
Delineations of Mdes:14
1Alahiya Vilabal15
2Asavari20
3Bageshwari26
4Behag30
5Bhairavi34
6Gaud-Sarang39
7Gurjari Todi44
8Hindole49
9Jaijaivanti53
10Kamode56
11Khamach60
12Puriya63
13Todi67
14Yaman71

Sample Pages





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