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Books > Performing Arts > Karnataka Music As Aesthetic Form (History of Science, Philosophy and Culture in Indian Civilization)
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Karnataka Music As Aesthetic Form (History of Science, Philosophy and Culture in Indian Civilization)
Karnataka Music As Aesthetic Form (History of Science, Philosophy and Culture in Indian Civilization)
Description
From the Jacket :

Karnataka Music As Aesthetic Form is probably the first serious and systematic attempt to analyse and explain aesthetic experience of Karnataka music in the perspective of its multiple values. It deals with a traditional art form of Indian music which is performed and enjoyed by many millions of music lovers in India and abroad. Its focus is Karnataka music but much of what it says in the first half applies to Indian music in general.

The book develops its ideas and concepts progressively, beginning with an analysis of art experience, set forth against a background of human experience in general and examines some of the prominent Indian and western theoretical models of art experience and beauty. The main thrust of its argument presented with philosophical insights is that experience of pure music is qualitatively different from other forms of aesthetic experience, incomparable and autonomous, and that traditional aesthetic theories of poetry and theatre are inadequate to explain musical experience per se. The author examines, in the process, aesthetic materials and compositional design of Indian music as well as the musical forms and instruments employed in contemporary Karnataka music. Historical continuity and chronology of the musical system are discussed in relation to general and particular historiographical problems and in relation to the historical evolution of the characterizing features of the system viz. raga, tala, vadya and prabandha. It may be mentioned that art historiography with special reference to Indian music is one of the author's major interests.

The book is based on extensive, original sources draw from different areas of study such as aesthetics, Indian music, Vedic and Tantrik literature.

About the Author:

Mahamahopadhyaya Dr. R. Sathyanarayana is one of the foremost thinkers and writers in the field of Art (especially Indian music and Indian dancing) in modern India. He is broad-based in several physical sciences, humanistic and indological disciplines. He has published numerous books including critical editions, translations, commentaries, annotations etc. of original Sanskrit texts on music and dancing, monographs, original creative works, popularizations, research papers etc. on these cognate subjects. He has received numerous academic distinctions (including doctoral degrees, fellowships, honorific titles), awards and honours. He is associated with many learned bodies in India and abroad. He has presented papers at numerous national and international conclaves. Major areas of his interest and activity include systematic textual criticism, textual interpretation with contemporary relevance, interdiscipinal studies, performance-oriented reconstruction and revival of ancient and medieval compositions in music and dance. He is a guide and examiner for doctoral examinations.

Prof. Sathyanarayana belongs to the third generation of the sisya-parampara of the saint-composer Sri Tyagaraja. He is a music composer, teacher, public speaker, broadcaster etc. He travels frequently to both the East and the West to interpret traditional Indian culture love on cultural missions. His life and work are documented in many professional directories and Who's Who-s. He is hailed for his systematic contributions to the intradisciplinal and interdisciplinal bases of modern Indian musicology and danceology.

Sri Sathyanarayana is a noted guru in the srividya tantra of kadimata and anandabhairava sampradaya.

CONTENTS

Prefaceix
I. ART EXPERIENCE1
1. Experience1
2. Perceptual Element2
3. Art Experience4
4. Beauty: (a) Aesthetic Thought in the West
    Beauty: (b) Indian Thought
10
14
5. Rasa Theory

18
II. AUTONOMY OF MUSIC EXPERIENCE32
1. Inadequacy of Rasa Theory32
2. Nature of Music38
3. Towards a Theory of Musical Aesthetics41
4. Beauty Revisited

46
III. AESTHETIC MATERIALS OF INDIAN MUSIC49
1. Alankara49
2. Svara51
3. Varnalankara52
4. Sthaya53
5. Raga54
6. Tala59
7. Orchestra60
8. Concert Aesthetics62
9. Discernment in Aesthetic Experience68
10. Musical Style and Aesthetics70
11. Taste and Musical Aesthetics

75
IV. COMPOSITION IN KARNATAKA MUSIC81
1. Composition in Karnataka Music81
2. The Role of Word in Music83
3. Composer: Motivation, Limitation and Resources86
4. Innovation in Musical Composition91
5. General Description of a Music Composition in Karnataka Music

92
V. MUSICAL FORM IN KARNATAKA MUSIC94
1. Introduction94
2. Description of Musical Forms in Karnataka Music100
3. Svarajati101
4. Jatisvara102
5. Varna102
6. Krti104
7. Devaranama110
8. Ugabhoga and Vacana111
9. Pada112
10. Javali113
11. Pallavi114
12. Astapadi116
13. Daru119
14. Tillana120
15. Ragamalika121
16. Tarangam122
17. Sloka

124
VI. MUSICAL INSTRUMENTS IN KARNATAKA MUSIC126
1. Musical Instruments in Karnataka Music 126
2. Tata (Chordophones)127
      (a) Tambura127
      (b) Vina130
      (c) Gottuvadya132
      (d) Violin133
      (e) Mandolin134
3. Susira (Aerophones)134
      (a) Flute134
      (b)Nagasvaram, Saxophone, Clarionet136
      (c) Jalataranga137
4. Avanaddha (Membranophones)138
      (a) Mrdanga138
      (b) Dolak and Tavil140
      (c) Khanjira141
5. Ghata (Idiophones)

141
VII. HISTORIOGRAPHY OF KARNATAKA MUSIC143
1. Karnataka Music: Genesis143
2. Raga150
3. Tala153
4. Vadya159
5. Prabandha162
Works Cited168
Index175

Karnataka Music As Aesthetic Form (History of Science, Philosophy and Culture in Indian Civilization)

Item Code:
IDD985
Cover:
Hardcover
Edition:
2004
ISBN:
81-87586-16-8
Language:
English
Size:
8.8" X 5.8"
Pages:
198
Price:
$30.00   Shipping Free
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From the Jacket :

Karnataka Music As Aesthetic Form is probably the first serious and systematic attempt to analyse and explain aesthetic experience of Karnataka music in the perspective of its multiple values. It deals with a traditional art form of Indian music which is performed and enjoyed by many millions of music lovers in India and abroad. Its focus is Karnataka music but much of what it says in the first half applies to Indian music in general.

The book develops its ideas and concepts progressively, beginning with an analysis of art experience, set forth against a background of human experience in general and examines some of the prominent Indian and western theoretical models of art experience and beauty. The main thrust of its argument presented with philosophical insights is that experience of pure music is qualitatively different from other forms of aesthetic experience, incomparable and autonomous, and that traditional aesthetic theories of poetry and theatre are inadequate to explain musical experience per se. The author examines, in the process, aesthetic materials and compositional design of Indian music as well as the musical forms and instruments employed in contemporary Karnataka music. Historical continuity and chronology of the musical system are discussed in relation to general and particular historiographical problems and in relation to the historical evolution of the characterizing features of the system viz. raga, tala, vadya and prabandha. It may be mentioned that art historiography with special reference to Indian music is one of the author's major interests.

The book is based on extensive, original sources draw from different areas of study such as aesthetics, Indian music, Vedic and Tantrik literature.

About the Author:

Mahamahopadhyaya Dr. R. Sathyanarayana is one of the foremost thinkers and writers in the field of Art (especially Indian music and Indian dancing) in modern India. He is broad-based in several physical sciences, humanistic and indological disciplines. He has published numerous books including critical editions, translations, commentaries, annotations etc. of original Sanskrit texts on music and dancing, monographs, original creative works, popularizations, research papers etc. on these cognate subjects. He has received numerous academic distinctions (including doctoral degrees, fellowships, honorific titles), awards and honours. He is associated with many learned bodies in India and abroad. He has presented papers at numerous national and international conclaves. Major areas of his interest and activity include systematic textual criticism, textual interpretation with contemporary relevance, interdiscipinal studies, performance-oriented reconstruction and revival of ancient and medieval compositions in music and dance. He is a guide and examiner for doctoral examinations.

Prof. Sathyanarayana belongs to the third generation of the sisya-parampara of the saint-composer Sri Tyagaraja. He is a music composer, teacher, public speaker, broadcaster etc. He travels frequently to both the East and the West to interpret traditional Indian culture love on cultural missions. His life and work are documented in many professional directories and Who's Who-s. He is hailed for his systematic contributions to the intradisciplinal and interdisciplinal bases of modern Indian musicology and danceology.

Sri Sathyanarayana is a noted guru in the srividya tantra of kadimata and anandabhairava sampradaya.

CONTENTS

Prefaceix
I. ART EXPERIENCE1
1. Experience1
2. Perceptual Element2
3. Art Experience4
4. Beauty: (a) Aesthetic Thought in the West
    Beauty: (b) Indian Thought
10
14
5. Rasa Theory

18
II. AUTONOMY OF MUSIC EXPERIENCE32
1. Inadequacy of Rasa Theory32
2. Nature of Music38
3. Towards a Theory of Musical Aesthetics41
4. Beauty Revisited

46
III. AESTHETIC MATERIALS OF INDIAN MUSIC49
1. Alankara49
2. Svara51
3. Varnalankara52
4. Sthaya53
5. Raga54
6. Tala59
7. Orchestra60
8. Concert Aesthetics62
9. Discernment in Aesthetic Experience68
10. Musical Style and Aesthetics70
11. Taste and Musical Aesthetics

75
IV. COMPOSITION IN KARNATAKA MUSIC81
1. Composition in Karnataka Music81
2. The Role of Word in Music83
3. Composer: Motivation, Limitation and Resources86
4. Innovation in Musical Composition91
5. General Description of a Music Composition in Karnataka Music

92
V. MUSICAL FORM IN KARNATAKA MUSIC94
1. Introduction94
2. Description of Musical Forms in Karnataka Music100
3. Svarajati101
4. Jatisvara102
5. Varna102
6. Krti104
7. Devaranama110
8. Ugabhoga and Vacana111
9. Pada112
10. Javali113
11. Pallavi114
12. Astapadi116
13. Daru119
14. Tillana120
15. Ragamalika121
16. Tarangam122
17. Sloka

124
VI. MUSICAL INSTRUMENTS IN KARNATAKA MUSIC126
1. Musical Instruments in Karnataka Music 126
2. Tata (Chordophones)127
      (a) Tambura127
      (b) Vina130
      (c) Gottuvadya132
      (d) Violin133
      (e) Mandolin134
3. Susira (Aerophones)134
      (a) Flute134
      (b)Nagasvaram, Saxophone, Clarionet136
      (c) Jalataranga137
4. Avanaddha (Membranophones)138
      (a) Mrdanga138
      (b) Dolak and Tavil140
      (c) Khanjira141
5. Ghata (Idiophones)

141
VII. HISTORIOGRAPHY OF KARNATAKA MUSIC143
1. Karnataka Music: Genesis143
2. Raga150
3. Tala153
4. Vadya159
5. Prabandha162
Works Cited168
Index175

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