Subscribe for Newsletters and Discounts
Be the first to receive our thoughtfully written
religious articles and product discounts.
Your interests (Optional)
This will help us make recommendations and send discounts and sale information at times.
By registering, you may receive account related information, our email newsletters and product updates, no more than twice a month. Please read our Privacy Policy for details.
.
Share
Share our website with your friends.
Email this page to a friend
By subscribing, you will receive our email newsletters and product updates, no more than twice a month. All emails will be sent by Exotic India using the email address info@exoticindia.com.

Please read our Privacy Policy for details.
|6
Your Cart (0)
Books > Performing Arts > गीत वाद्य शास्त्र संग्रह: An Anthology of Ancient Sanskrit Texts on Music
Displaying 657 of 1261         Previous  |  NextSubscribe to our newsletter and discounts
गीत वाद्य शास्त्र संग्रह: An Anthology of Ancient Sanskrit Texts on Music
Pages from the book
गीत वाद्य शास्त्र संग्रह: An Anthology of Ancient Sanskrit Texts on Music
Look Inside the Book
Description

About the Book

Gita-vadya-sastrasamgrahah is an anthology of Sangita-vadya-sastra (the discipline of music-vocal and instrumental) which has a tradition of more than two millennia. The period becomes larger if we also take sama into account, because the music of sama is as ancient as the Veda itself. The traditions of reciting Vedic mantras, performing yajnas and sama singing have come down to us in an unbroken continuity.

This anthology projects the sastra in all its ramifications as a descriptive and analytical discourse. Gita-vadya-sastrasamgrahah which is unique is its kind invites fresh thinking in the sastra and the section devoted to purvacaryasmaranam shows both a sense of change and continuity in the specialized field.

About the Author

The compilers of this volume, Dr. Prem Lata Sharma (1972-1998) and Sri Mukund Lath are renowned musicologists. Dr. Prem Lata Sharma had been the Vice chancellor of Indira Kala Sangit Visvavidyalaya, Khairagarh (M.P.). She had won many awards which includes the Sangeet Natak Akademi Award. She had eleven published works to her credit which includes the much acclaimed work Sangeetraja Rana Kumbha. She had been the Vice-chairman of the Sangeet Natak Akademi.

Mukund Lath (1937) grew up in Caluctta studying music with Pt. Maniram, Pt. Ramesh Chakravarty and Pt. Jasarj. He did B.A. (Hons.) in English and move on to Sanskrit. He did his Ph.D. on an ancient text on music published as A Study of Dattilam. He then joined the Department of History and Indian Culture, University of Rajasthan. He has published a number of books and articles on music, theatre, dance as well as history, culture and thought in general. His book Sangita Evam Chintan is a unique attempt to reflect on thought on the analogy of music.

Introduction

This perhaps is the first anthology prepared under the auspices of the Sahitya Akademi (National Academy of Letters) where the subject matter is a laksana-sastra; all other anthologies published so far pertain to kavya, itihasa, purana etc. which are products of the imagination rather than attempts to theorize about it and analyse and describe it, or in other words, apprehend it discursively. A laksana-sastra attempts to do just that

Sangitasastra has a tradition of analyzing and comprehending music both theoretically and in its various forms of more than two millennia. The period becomes larger if we also take Sama into account, for the music of Sama is as ancient as the Veda itself. Also the enterprise of analyzing, describing and transmitting the music of the Sama is as old as similar enterprises for the Vedic mantra. Also like the traditions of reciting Vedic mantras and performing yajnas, the traditions of Sama singing, too, have come down to us in an unbroken continuity.

But the world of Sama is a world in itself. In this anthology we have not tried to enter this world except peripherially. The reason is two-fold. Form a musicological point of view, Sama remains largely an unchartered area, both formally and historically. The little mapping of the area that has been done is inadequate for us to be able to place it in the larger map of Indian music and musical tradition in general. Sama also has a rich sastraic tradition of its own. This tradition has not yet become a familiar territory for the musicologist. The history of this sastra, the nature of its discourse, it s relation with the laksya, the Sama, remain vague to us as musicologists. An independent scholarly enterprise is needed to charter this territory before one can even think of making a samgraha of it.

But though distinct from the sangita which is a envisaged in this samgraha, Sama has been a source of inspiration for what might be called the jati and raga tradition in many ways. The sastra itself speaks of these connections which, as can be seen from our samgraha, is both formal and historical. Gandharva has been spoken repeatedly as being born of Sama. Many of its specific elements are directly related to the specific elements in Sama.

The greatest importance of Sama lies in the great sanctity it bestows on music. Sama is perhaps the only example of a revelation which has expressed itself in the form of music. The Vedic mantra, that is the text to which the Sama is sung, is revealed independent of the Sama. Indeed, in the Sama tradition, when Sama became an upasana there was a tendency to devalue the rk (as our quotation from the Jaiminiya Brahmana, show…) and make music a transcendental object in itself.

The snactity which Sama gave to music has served it well in musical history. It could be brought to the defence of music as an art when such a defence was needed (see our section on Sangita Prasamsa).

The plan of our samgraha is, we think, displayed in our chapterization itself. These we have called vidaris, borrowing a term from music, a term which deserves to be used more often than it is. We have tried to amalgamate two distinct principles: the formal or logical and the chronological or historical. We have tried to project the sastra in all its ramifications as a descriptive and analytical discourse. But the sastra has been a growing and changing sastra in an inherent sense, since the laksya, music, has itself grown and changed. Thus our samgraha takes into account this fundamental historicity of its discourse. Indeed the sastra shows great self –awareness of its historical nature even while maintaining a continuity which sometimes might appear forced and unnatural. Our chapter devoted to fresh thinking in the sastra and the section devoted to purvacarya-smarnam shows both a sense of change and continuity.

What does not-and cannot- be reflected in a samgraha of this kind is –(i) the great amount of repetition with which much of the sastra is overladen, (ii) the role of individual sastris in the formation and formulation of the sastra, both as theorists and stylists. Great individuals, such as Abhinavagupta, Sarngadeva, Venkatamakhin and Somanatha among others do not stand out as great figures as they ideally should.

It should also be remembered that sangita as a descriptive discourse tends to be very technical and specialized, weaving a large web which captures its laksya to whatever degree it can only as a totality. We have perforce had to break this totality and select items to suit our purpose and design.

To whom are we addressing this samgraha is a question that we have asked ourselves again and again. We are really not sure. Students of this sastra are rare and few even among the growing tribe of musicologists. Such students would in any case enter the sastra through a standard text rather than a samgraha as would be wise enough. Who, then, do we have in mind as our readers? There is, happily, a growing number of people who are interested in a comparative and historical study of intellectual history and theory who, we hope, could be initiated into this sastra through our samgraha. Indeed this samgraha would have served its purpose if it arouses interest in an appreciation of this sastra as a major intellectual discipline.




Sample Page


गीत वाद्य शास्त्र संग्रह: An Anthology of Ancient Sanskrit Texts on Music

Item Code:
NZF360
Cover:
Hardcover
Edition:
1999
Publisher:
Sahitya Akademi
Language:
Sanskrit
Size:
9.0 inch X 6.0 inch
Pages:
200
Other Details:
Weight of the Book: 330 gms
Price:
$25.00   Shipping Free
Look Inside the Book
Add to Wishlist
Send as e-card
Send as free online greeting card
गीत वाद्य शास्त्र संग्रह: An Anthology of Ancient Sanskrit Texts on Music

Verify the characters on the left

From:
Edit     
You will be informed as and when your card is viewed. Please note that your card will be active in the system for 30 days.

Viewed 1764 times since 1st Jun, 2015

About the Book

Gita-vadya-sastrasamgrahah is an anthology of Sangita-vadya-sastra (the discipline of music-vocal and instrumental) which has a tradition of more than two millennia. The period becomes larger if we also take sama into account, because the music of sama is as ancient as the Veda itself. The traditions of reciting Vedic mantras, performing yajnas and sama singing have come down to us in an unbroken continuity.

This anthology projects the sastra in all its ramifications as a descriptive and analytical discourse. Gita-vadya-sastrasamgrahah which is unique is its kind invites fresh thinking in the sastra and the section devoted to purvacaryasmaranam shows both a sense of change and continuity in the specialized field.

About the Author

The compilers of this volume, Dr. Prem Lata Sharma (1972-1998) and Sri Mukund Lath are renowned musicologists. Dr. Prem Lata Sharma had been the Vice chancellor of Indira Kala Sangit Visvavidyalaya, Khairagarh (M.P.). She had won many awards which includes the Sangeet Natak Akademi Award. She had eleven published works to her credit which includes the much acclaimed work Sangeetraja Rana Kumbha. She had been the Vice-chairman of the Sangeet Natak Akademi.

Mukund Lath (1937) grew up in Caluctta studying music with Pt. Maniram, Pt. Ramesh Chakravarty and Pt. Jasarj. He did B.A. (Hons.) in English and move on to Sanskrit. He did his Ph.D. on an ancient text on music published as A Study of Dattilam. He then joined the Department of History and Indian Culture, University of Rajasthan. He has published a number of books and articles on music, theatre, dance as well as history, culture and thought in general. His book Sangita Evam Chintan is a unique attempt to reflect on thought on the analogy of music.

Introduction

This perhaps is the first anthology prepared under the auspices of the Sahitya Akademi (National Academy of Letters) where the subject matter is a laksana-sastra; all other anthologies published so far pertain to kavya, itihasa, purana etc. which are products of the imagination rather than attempts to theorize about it and analyse and describe it, or in other words, apprehend it discursively. A laksana-sastra attempts to do just that

Sangitasastra has a tradition of analyzing and comprehending music both theoretically and in its various forms of more than two millennia. The period becomes larger if we also take Sama into account, for the music of Sama is as ancient as the Veda itself. Also the enterprise of analyzing, describing and transmitting the music of the Sama is as old as similar enterprises for the Vedic mantra. Also like the traditions of reciting Vedic mantras and performing yajnas, the traditions of Sama singing, too, have come down to us in an unbroken continuity.

But the world of Sama is a world in itself. In this anthology we have not tried to enter this world except peripherially. The reason is two-fold. Form a musicological point of view, Sama remains largely an unchartered area, both formally and historically. The little mapping of the area that has been done is inadequate for us to be able to place it in the larger map of Indian music and musical tradition in general. Sama also has a rich sastraic tradition of its own. This tradition has not yet become a familiar territory for the musicologist. The history of this sastra, the nature of its discourse, it s relation with the laksya, the Sama, remain vague to us as musicologists. An independent scholarly enterprise is needed to charter this territory before one can even think of making a samgraha of it.

But though distinct from the sangita which is a envisaged in this samgraha, Sama has been a source of inspiration for what might be called the jati and raga tradition in many ways. The sastra itself speaks of these connections which, as can be seen from our samgraha, is both formal and historical. Gandharva has been spoken repeatedly as being born of Sama. Many of its specific elements are directly related to the specific elements in Sama.

The greatest importance of Sama lies in the great sanctity it bestows on music. Sama is perhaps the only example of a revelation which has expressed itself in the form of music. The Vedic mantra, that is the text to which the Sama is sung, is revealed independent of the Sama. Indeed, in the Sama tradition, when Sama became an upasana there was a tendency to devalue the rk (as our quotation from the Jaiminiya Brahmana, show…) and make music a transcendental object in itself.

The snactity which Sama gave to music has served it well in musical history. It could be brought to the defence of music as an art when such a defence was needed (see our section on Sangita Prasamsa).

The plan of our samgraha is, we think, displayed in our chapterization itself. These we have called vidaris, borrowing a term from music, a term which deserves to be used more often than it is. We have tried to amalgamate two distinct principles: the formal or logical and the chronological or historical. We have tried to project the sastra in all its ramifications as a descriptive and analytical discourse. But the sastra has been a growing and changing sastra in an inherent sense, since the laksya, music, has itself grown and changed. Thus our samgraha takes into account this fundamental historicity of its discourse. Indeed the sastra shows great self –awareness of its historical nature even while maintaining a continuity which sometimes might appear forced and unnatural. Our chapter devoted to fresh thinking in the sastra and the section devoted to purvacarya-smarnam shows both a sense of change and continuity.

What does not-and cannot- be reflected in a samgraha of this kind is –(i) the great amount of repetition with which much of the sastra is overladen, (ii) the role of individual sastris in the formation and formulation of the sastra, both as theorists and stylists. Great individuals, such as Abhinavagupta, Sarngadeva, Venkatamakhin and Somanatha among others do not stand out as great figures as they ideally should.

It should also be remembered that sangita as a descriptive discourse tends to be very technical and specialized, weaving a large web which captures its laksya to whatever degree it can only as a totality. We have perforce had to break this totality and select items to suit our purpose and design.

To whom are we addressing this samgraha is a question that we have asked ourselves again and again. We are really not sure. Students of this sastra are rare and few even among the growing tribe of musicologists. Such students would in any case enter the sastra through a standard text rather than a samgraha as would be wise enough. Who, then, do we have in mind as our readers? There is, happily, a growing number of people who are interested in a comparative and historical study of intellectual history and theory who, we hope, could be initiated into this sastra through our samgraha. Indeed this samgraha would have served its purpose if it arouses interest in an appreciation of this sastra as a major intellectual discipline.




Sample Page


Post a Comment
 
Post Review
Post a Query
For privacy concerns, please view our Privacy Policy

Related Items

THE TRADITIONAL SANSKRIT THEATRE OF KERALA (Calicut University 

Sanskrit Series No. 3)
by Dr. C. Rajendran
Paperback (Edition: 1989)
Department of Sanskrit, University of Calicut
Item Code: IDF710
$10.00
Add to Cart
Buy Now
Samskrta and Sangita (Sanskrit and Music)
by Dr. S.S. Janaki
Hardcover (Edition: 2015)
The Kuppuswami Sastri Research Institute, Chennai
Item Code: NAL631
$33.00
Add to Cart
Buy Now
Theatric Aspects of Sanskrit Drama (Rare Book)
by G.K. Bhat
Hardcover (Edition: 1983)
Bhandarkar Oriental Research Insitute, Pune
Item Code: NAC455
$25.00
Add to Cart
Buy Now
Movement and Mimesis (The Idea of Dance in the Sanskrit Tradition)
by Mandakranta Bose
Hardcover (Edition: 1991)
D. K. Printworld Pvt. Ltd.
Item Code: IDK120
$40.00
Add to Cart
Buy Now
Essentials of Sama Veda and its Music (Sanskrit Text with Transliteration and English Translation)
by R.L. Kashyap
Paperback (Edition: 2012)
Sri Aurobindo Kapali Sastry Institute of Vedic Culture
Item Code: NAE899
$10.00
Add to Cart
Buy Now
Classical Sanskrit Prosody
by Dr. K.Yedukondalu
Hardcover (Edition: 2014)
Rashtriya Sanskrit Vidyapeetha
Item Code: NAK866
$40.00
Add to Cart
Buy Now
Kuttampalam and Kutiyattam (A Study of the Traditional Theatre for the Sanskrit Drama of Kerala): An old and Rare Book
by Goverdhan Panchal
Hardcover (Edition: 1984)
Sangeet Natak Akademi, New Delhi
Item Code: NAB952
$55.00
Add to Cart
Buy Now
Sanskrit Drama (Its Aesthetics and Production) (A Rare Book)
by Dr. V. Raghavan
Hardcover (Edition: 1993)
Giri Trading Agency Pvt. Ltd.
Item Code: NAG781
$40.00
Add to Cart
Buy Now
Kridaniyakam (Myriad Aspects of Comedy in Sanskrit Drama)
by N.K. Geetha
Hardcover (Edition: 2012)
Chinmaya International Foundation Shodha Sansthan
Item Code: NAK914
$30.00
Add to Cart
Buy Now
METATHEATER AND SANSKRIT DRAMA
by Michael Lockwood & A. Vishnu Bhat
Hardcover (Edition: 1995)
Munshiram Manoharlal Publishers Pvt. Ltd.
Item Code: IMD20
$27.50
Add to Cart
Buy Now
SANSKRIT DRAMA IN THEORY AND PRACTICE
by S.S. JANAKI
Hardcover (Edition: 1995)
Rashtriya Sanskrit Sansthan
Item Code: IDG082
$11.50
Add to Cart
Buy Now

Testimonials

I recieved my Mahavir pendant today. It is wonderful. I was recently in Delhi and as it was a spiritual trip visiting Jain temples in Rajasthan, Agra, Rishikesh and Delhi i did not have the opportunity to shop much. The pendant is beautiful and i shall treasure it. I have attached a picture of me in India. Your country and the people will always be in my heart.
Evelyn, Desoto, Texas.
I received my Order this week, It's wonderful. I really thank you very much.
Antonio Freitas, Sao Paulo, Brazil.
I have been ordering from your site for several years and am always pleased with my orders and the time frame is lovely also. Thanks for being such a wonderful company.
Delia, USA
I recviced Book Air Parcel(Nadi-Astrology). I am glad to see this book. Thankx. Muhammad Arshad Nadeem Pakistan.
Muhammad Arshad Nadeem
It is always a great pleasure to return to Exotic India with its exquisit artwork, books and other items. As I said several times before, Exotic India is far more than a highly professional Indian online shop; it is in fact an excellent ambassador to the world for the splendour of Indian wisdom and spirituality. I wish a happy and successful New Year 2017 to Exotic India and its employees! You can be very proud of yourself!
Dr Michael Seeber (psychiatrist and psychotherapist, Essen/Germany)
My last order arrived in a reasonable amount of time, regarding the long way it had to take! I am glad to find this and some other ayurvedic remedy, as well as books and much other things at your online-store and I am looking forward to be your customer again, some time.
Andreas, Germany.
Намаскар! Честно говоря, сомневался. Но сегодня получил свой заказ. Порадовала упаковка, упаковано всё очень тщательно и аккуратно. Большое спасибо, как раз подарок к Новому Году! Namaskar! Frankly, I doubted. But today received my order. We were pleased with the packaging. Everything is packed carefully and accurately. Thank you very much, just a gift for the New Year!
Ruslan, Russia.
Thanks for the great sale!! It really helped me out. I love Exotic India.
Shannon, USA
I have got the 3 parcels with my order today and everything is perfect. Thank you very much for such a good packaging to protect the items and for your service.
Guadalupe, Spain
Great books! I am so glad you make them available to order, thank you!
Yevgen, USA
TRUSTe online privacy certification
Language:
Currency:
All rights reserved. Copyright 2017 © Exotic India