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.
.
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)
Share our website with your friends.
Email this page to a friend
Books > Performing Arts > HINDUSTANI MUSIC AND THE AESTHETIC CONCEPT OF FORM
Displaying 646 of 1282         Previous  |  NextSubscribe to our newsletter and discounts
HINDUSTANI MUSIC AND THE AESTHETIC CONCEPT OF FORM
HINDUSTANI MUSIC AND THE AESTHETIC CONCEPT OF FORM
Description

About the Book

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 today's growing library of writings on Hindustani music, Anjali Mittal's 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 focused on some select compositions in dhruvapada, dhamar, tarana, vailambit 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, aesthetics predicates and, above all, the concept of artistic form. The work may be expected interest all those who want an analytic understanding of what form (or bandisa) means in the region of Hindustani classical vocal music.

Preface

As I begin this preface, my first impulse is to thank my stars on the completion of this work. The subject it discusses is by no means very easy, and I have indeed been lucky to receive, all along, kindly encouragement from my colleagues at the University where I work; and abounding help from my exceptionally sympathetic Guru, Professor S.K. Saxena, to whom I am inexpressibly grateful.

My colleagues and friends, namely, Najma, Sunita, Anupam, Vijaya, and Gullu in particular, have all been very actively helpful, in different ways. They goaded me to keep going whenever I seemed to wobble in my course; and the first four of them never failed to make such adjustments in our teaching work as could release a little more time for my research.

Professor V.K. Aggarwal, our Dean and Departmental Head when I wrote this work, has helped me in many ways. Without his blessings it would have been clearly impossible for me to achieve my purpose, and so I greatly value his help. As for Professor Debu Chaudhari, our internationally famous sitar maestro, he not only gave me one helpful hint in connexion with my treatment of raga-rupa, but has even been impatient for, and not merely interested in, the completion of the present work.

Next only to what Prof. Saxena has done for me, active and substantial help has been received from my didi, Prof. Krishna Bisht, who is herself a vocalist of no mean merit. When I was finding it difficult to really settle the question of the comparative value of vadi-samvadi and the 'catch-phrase' in the context of raga-rupa, she provided me with some excellent material for thought. Further, it is she who picked for me the khyal-tanas to be analysed, and drew my attention to a clear defect in one of the compositions I had analysed – a defect which was promptly remedied. I therefore feel impelled to acknowledge my indebtedness to her, even at the risk of embarrassing her.

In respect of notations, the compositions analysed in this work have been checked by the late Dr. (Mrs.) Lalit Mathur; and from the viewpoint of rhythm, by the late Ustad Chhamma Khan (tabla) and Pandit Tej Prakash 'Tulsi' (pakhavaj). I feel beholden to all of them.

It would perhaps look odd to thank my family too. But I must at least acknowledge the help I have received from my husband, Sri S.P. Mittal, and my daughter, Meghna. They happily did quite a few household chores which were really my duty; and so provided me with more time to concentrate on my work.

I cannot help recalling, at this point, the debt that I owe to my teachers in vocal music: Pandit Sita Ram, who initiated me into the art, and the late Ustad Naseer Ahmad Khan who took me further on the course, and whose exquisite eye for the beauty of little details will for ever remain a source of inspiration to me.

As for the content of the work, it is clearly different from what we commonly find in books on music. The viewpoint is neither historical nor grammatical, but aesthetic. It is only in the field of aesthetics that we find serious reflection on concepts like form and expression. The present work seeks to do the same in relation to Hindustani music.

I do not, however, make any claim to exceptional achievement.

I must add, in the end, that barring the khyal-s, all the rhythmic (tabla and kathak) and melodic compositions I have discussed in the fifth chapter, The Knitwork of Musical Form, have been provided by Prof. Saxena; and that the dhruvapada, dhamar and tarana bandisa-es are his own creations.

I expect this modest essay to promote interest in the aesthetical study of our music.

About the Author

Dr. Anjali Mittal teaches Hindustani Classical Music and Aesthetics at the University of Delhi. She passed her B.A. Hons. and M.A. examinations from the same institution, getting a high first class on both occasions. As a vocalist herself, Dr. Mittal had the privilege of learning Hindustani Classical Music under the wing of the Late Ustad Nasir Ahmed Khan of Delhi Gharana. As a result of this training, she is now a proficient vocalist herself; and her music can be heard from A.I.R., Delhi every now and then. Presently a Reader in the Faculty of Music & Fine Arts of Delhi University, Dr. Anjali Mittal is one the few teachers of music whose concern with the art follows the way of contemporary aesthetics.

 

CONTENTS

 

  Preface vii
1. Philosophical Aesthetics: Approaches and Concepts 1
2. Of Artistic Expression 33
3. Form in Art 39
4. Aesthetic Predicates 55
5. The Knitwork of Musical Form 61
6. Conclusion 137
  Appendix:  
Linear Diagrams of the Form of Some Tanas Maps
143
  Glossary 157
  Bibliography 165
  Index 167

 

Sample Pages









HINDUSTANI MUSIC AND THE AESTHETIC CONCEPT OF FORM

Item Code:
IDD157
Cover:
Hardcover
Edition:
2009
ISBN:
8124601348
Language:
English
Size:
9.8" X 7.4"
Pages:
174
Other Details:
Weight of the Book: 680 gms
Price:
$30.50
Discounted:
$22.88   Shipping Free
You Save:
$7.62 (25%)
Add to Wishlist
Send as e-card
Send as free online greeting card
HINDUSTANI MUSIC AND THE AESTHETIC CONCEPT OF FORM

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 10623 times since 25th Nov, 2015

About the Book

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 today's growing library of writings on Hindustani music, Anjali Mittal's 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 focused on some select compositions in dhruvapada, dhamar, tarana, vailambit 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, aesthetics predicates and, above all, the concept of artistic form. The work may be expected interest all those who want an analytic understanding of what form (or bandisa) means in the region of Hindustani classical vocal music.

Preface

As I begin this preface, my first impulse is to thank my stars on the completion of this work. The subject it discusses is by no means very easy, and I have indeed been lucky to receive, all along, kindly encouragement from my colleagues at the University where I work; and abounding help from my exceptionally sympathetic Guru, Professor S.K. Saxena, to whom I am inexpressibly grateful.

My colleagues and friends, namely, Najma, Sunita, Anupam, Vijaya, and Gullu in particular, have all been very actively helpful, in different ways. They goaded me to keep going whenever I seemed to wobble in my course; and the first four of them never failed to make such adjustments in our teaching work as could release a little more time for my research.

Professor V.K. Aggarwal, our Dean and Departmental Head when I wrote this work, has helped me in many ways. Without his blessings it would have been clearly impossible for me to achieve my purpose, and so I greatly value his help. As for Professor Debu Chaudhari, our internationally famous sitar maestro, he not only gave me one helpful hint in connexion with my treatment of raga-rupa, but has even been impatient for, and not merely interested in, the completion of the present work.

Next only to what Prof. Saxena has done for me, active and substantial help has been received from my didi, Prof. Krishna Bisht, who is herself a vocalist of no mean merit. When I was finding it difficult to really settle the question of the comparative value of vadi-samvadi and the 'catch-phrase' in the context of raga-rupa, she provided me with some excellent material for thought. Further, it is she who picked for me the khyal-tanas to be analysed, and drew my attention to a clear defect in one of the compositions I had analysed – a defect which was promptly remedied. I therefore feel impelled to acknowledge my indebtedness to her, even at the risk of embarrassing her.

In respect of notations, the compositions analysed in this work have been checked by the late Dr. (Mrs.) Lalit Mathur; and from the viewpoint of rhythm, by the late Ustad Chhamma Khan (tabla) and Pandit Tej Prakash 'Tulsi' (pakhavaj). I feel beholden to all of them.

It would perhaps look odd to thank my family too. But I must at least acknowledge the help I have received from my husband, Sri S.P. Mittal, and my daughter, Meghna. They happily did quite a few household chores which were really my duty; and so provided me with more time to concentrate on my work.

I cannot help recalling, at this point, the debt that I owe to my teachers in vocal music: Pandit Sita Ram, who initiated me into the art, and the late Ustad Naseer Ahmad Khan who took me further on the course, and whose exquisite eye for the beauty of little details will for ever remain a source of inspiration to me.

As for the content of the work, it is clearly different from what we commonly find in books on music. The viewpoint is neither historical nor grammatical, but aesthetic. It is only in the field of aesthetics that we find serious reflection on concepts like form and expression. The present work seeks to do the same in relation to Hindustani music.

I do not, however, make any claim to exceptional achievement.

I must add, in the end, that barring the khyal-s, all the rhythmic (tabla and kathak) and melodic compositions I have discussed in the fifth chapter, The Knitwork of Musical Form, have been provided by Prof. Saxena; and that the dhruvapada, dhamar and tarana bandisa-es are his own creations.

I expect this modest essay to promote interest in the aesthetical study of our music.

About the Author

Dr. Anjali Mittal teaches Hindustani Classical Music and Aesthetics at the University of Delhi. She passed her B.A. Hons. and M.A. examinations from the same institution, getting a high first class on both occasions. As a vocalist herself, Dr. Mittal had the privilege of learning Hindustani Classical Music under the wing of the Late Ustad Nasir Ahmed Khan of Delhi Gharana. As a result of this training, she is now a proficient vocalist herself; and her music can be heard from A.I.R., Delhi every now and then. Presently a Reader in the Faculty of Music & Fine Arts of Delhi University, Dr. Anjali Mittal is one the few teachers of music whose concern with the art follows the way of contemporary aesthetics.

 

CONTENTS

 

  Preface vii
1. Philosophical Aesthetics: Approaches and Concepts 1
2. Of Artistic Expression 33
3. Form in Art 39
4. Aesthetic Predicates 55
5. The Knitwork of Musical Form 61
6. Conclusion 137
  Appendix:  
Linear Diagrams of the Form of Some Tanas Maps
143
  Glossary 157
  Bibliography 165
  Index 167

 

Sample Pages









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

Based on your browsing history

Loading... Please wait

Related Items

Masters of Hindustani Classical Music Pandit Purushottam Walawalkar (Set of 2 DVDs, with Color Booklet Inside)
Pandit Purushottam Walawalkar
Indira Gandhi National Centre for the Arts
146 Min. 388 Sec. Approx
Item Code: IZA060
$50.00$37.50
You save: $12.50 (25%)
Add to Cart
Buy Now
The Best of Rajan and Sajan Mishra: Vocal Hindustani Classical (Audio CD)
Rajan and Sajan Mishra
Music Today (2003)
63:38 Minutes
Item Code: ICB022
$30.00$22.50
You save: $7.50 (25%)
Add to Cart
Buy Now
Shakti & Peace - The Essence of Tradition (Hindustani Vocal) (Two Audio CDs)
Dr. Gangubai Hangal
Ninaad (2009)
Item Code: ICP082
$30.00$22.50
You save: $7.50 (25%)
Add to Cart
Buy Now
The Great Heritage: Exclusive Archival Collection Ustad Bismillah Khan: Hindustani Classical Instrumental-Shehnai (Set of 3 Audio CDs)
Saregama (2010)
Item Code: ICZ076
$40.00$30.00
You save: $10.00 (25%)
Add to Cart
Buy Now
The Genius of Ustad Rashid Khan: Hindustani Classical Vocal (Set of 3 Audio CDs)
Saregama (2010)
Item Code: IDA088
$50.00$37.50
You save: $12.50 (25%)
Add to Cart
Buy Now
We Indians - Hum Hindustani (DVD)
Ram Mukerji
Sheemaroo Entertainment Pvt. Ltd.(2009)
Approx. 161 Minutes
Item Code: IZZ429
$22.00$16.50
You save: $5.50 (25%)
Add to Cart
Buy Now
The Forgotten Forms of Hindustani Music
by Rabindra Bharali
Hardcover (Edition: 2008)
Kanishka Publishers
Item Code: NAL867
$32.00$24.00
You save: $8.00 (25%)
Add to Cart
Buy Now
The Role of Criticism in Hindustani Music
by Priya Kanungo
Hardcover (Edition: 2006)
Kanishka Publishers
Item Code: NAL866
$30.00$22.50
You save: $7.50 (25%)
Add to Cart
Buy Now
Tradition  of Hindustani Music (A Sociological Approach)
by Nivedita Singh
Hardcover (Edition: 2004)
Kanishka Publishers
Item Code: NAL873
$45.00$33.75
You save: $11.25 (25%)
Add to Cart
Buy Now
Instruments in Hindustani Classical Music (Role and Performance)
by Dr. Sumita Chakravorty
Hardcover (Edition: 2012)
Kanishka Publishers
Item Code: NAL351
$45.00$33.75
You save: $11.25 (25%)
Add to Cart
Buy Now
Nyasa in Raga: The Pleasant Pause in Hindustani Music (An Old and Rare Book)
by Dr. Ananya Kumar Dey
Hardcover (Edition: 2008)
Kanishka Publishers
Item Code: NAL556
$40.00$30.00
You save: $10.00 (25%)
Add to Cart
Buy Now

Testimonials

Very easy to buy, great site! Thanks
Ilda, Brazil
Our Nandi sculpture arrived today and it surpasses all expectations - it is wonderful. We are not only pleasantly surprised by the speed of international delivery but also are extremely grateful for the care of your packaging. Our sculpture needed to travel to an off-lying island of New Zealand but it arrived safely because of how well it had been packaged. Based upon my experience of all aspects of your service, I have no hesitation in recommending Exotic India.
BWM, NZ
Best web site to shop on line.
Suman, USA
Thank you for having such a great website. I have given your site to all the people I get compliments on your merchandise.
Pat, Canada.
Love the website and the breadth of selection. Thanks for assembling such a great collection of art and sculpture.
Richard, USA
Another three books arrived during the last weeks, all of them diligently packed. Excellent reading for the the quieter days at the end of the year. Greetings to Vipin K. and his team.
Walter
Your products are uncommon yet have advanced my knowledge and devotion to Sanatana Dharma. Also, they are reasonably priced and ship quickly. Thank you for all you do.
Gregory, USA
Thank you kindly for the Cobra Ganesha from Mahabalipuram. The sculpture is exquisite quality and the service is excellent. I would not hesitate to order again or refer people to your business. Thanks again.
Shankar, UK
The variety, the quality and the very helpful price range of your huge stock means that every year I find a few new statues to add to our meditation room--and I always pick up a few new books and cds whenever I visit! keep up the good work!
Tim Smith, USA
Love this site. I have many rings from here and enjoy all of them
Angela, USA
TRUSTe
Language:
Currency:
All rights reserved. Copyright 2017 © Exotic India