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Books > Performing Arts > Karnatic Music Reader (Part 1) (Containing Introduction Saptha Swara, Sarali Varisa, Janta Varisa, Alankaram, Gitam, Swarajathi )
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Karnatic Music Reader (Part 1) (Containing Introduction Saptha Swara, Sarali Varisa, Janta Varisa, Alankaram, Gitam, Swarajathi )
Karnatic Music Reader (Part 1) (Containing Introduction Saptha Swara, Sarali Varisa, Janta Varisa, Alankaram, Gitam, Swarajathi )
Description
About the Author

The present reader in Kamatic music is a systematic introduction of the study of karnatic music. The reader in four parts covers the different musical forms in karnatic music.

In the first part starting with simple introduction and the history of south Indian music the book ventures into the teaching of fundamentals notes Sarlivarisas janta varisas Alankara gitam svarajathi and jathisvaram. The lessons have been arranged in simple notation.

The second part covers the various aspects of vamam. The introduction gives a proper evaluation of various types of Varman and a not on different composer. The notations of about 40 different vamam in adi tala ata tala and pada varma have been notated in simple form for easy rendering. The varmans have been selected to represent the best from various composers of karnatic music.

The third part covers Kirtans. A detailed introduction on Keertanas and various composers have been added. The notation of about 40 popular Kirtans have been given in simple notation. Representative compositions of important composers has been selected.

The fourth part covers the musical forms like daru Varnam pada, tillanas tans varmas javali ragamilika utsava sampradaya keetanas tirupaugazh kavadi chindu etc. These compositions portray the varied facets of karnatic music all these forms have an introduction about them.

The complete reader in 4 parts will be a compendium of musical forms of karnatic music. The notations for the compositions have been in simplest form possible so that the student learner can learn them with minimal effort. The selection of compositions have been made to cover representative composers of karnatic music.

Introduction

Music is perhaps the finest of the fine arts. World music itself admits of two major branches i.e. occidental and oriental i.e. western and Indian music of these the musical system having its roots in India came to be known as Indian music. In India music had a prehistoric origin. The concept of Indian music denotes the combination of Gita, Vadya and Dance i.e. Gitam, Vadyam and Nrityam. Even the Vedic concept of Sangita denotes these three aspects of music.

Gitam Vadyam thatha nrityan tryaam sangitamuchyate

Indian music can be broadly classified into two main heads. Based on the nature of music it can be classified as marga and Desi. Marga sangita is highly sacred and religious and is believed to have been performed by gods, goddesses, Celestials, Saints etc, while Desi sangita is considered as the music of the common folk. Of the two marga sangita is the oldest and the music of the classes while Desi the music of the masses subjected to timely changes and geographical factors.

Marga sangita gradually developed into two groups i.e. Hindusthani and Karnatic. The frequent invasions which tool place in the northern regions of India influenced our musical system as well. The Persian and Afghan music influenced the music of northern parts of India and later this came to be called as Outtaraha Sangeetha, North Indian music or Hidusthani Music. The system which was prevalent in the southern regions was called Dakshinatya Sangeetha or Southern system or Karnatic music. The south Indian music had retained its won individuality and developed in its own traditional way. This bifurcation into Hindusthani and Karnatic music happened around 13th century.

The south Indian system of music developed in the southern regions of Karnataka, Tamil Nadu, Andhra Desa and Kerala (Came to be called as Karnataka desa) was named South Indian music or Karnataka Sangeetha. There is also another view prevalent which runs as follows. Karnataka means that which is audible and acceptable to the ears. Thus Karnataka sangeetha in this sense means music which is highly audible and acceptable to the ears. However Karnatic music and Hindustani music developed into two different systems highly scientific and melodic on its own Sruthi and laya constitue the parents (mother and father Sruthi: matha Laya: Pitha) of Karnatic music. These two are the essential constituent factors of Indian music. The Alapana and musical rendering is adhered strictly to sruthi and laya and are important factors which are to be noted.

Karnatic music has many salient features which are to be studied individually with great care and attention. Musical forms denote a major branch of Karnatic music.

Contents

Introduction 1
Sapta Svara/ Varisas5
Alankaram16
Gitam 32
Lakshana Gitas56
Ghanaraga Gitas63
Jathiswaram68
Svarajathi79

Karnatic Music Reader (Part 1) (Containing Introduction Saptha Swara, Sarali Varisa, Janta Varisa, Alankaram, Gitam, Swarajathi )

Item Code:
IHL066
Cover:
Paperback
Edition:
2007
Publisher:
Size:
9.5 Inch X 7.1 Inch
Pages:
84
Other Details:
a51_books
Price:
$20.00   Shipping Free
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About the Author

The present reader in Kamatic music is a systematic introduction of the study of karnatic music. The reader in four parts covers the different musical forms in karnatic music.

In the first part starting with simple introduction and the history of south Indian music the book ventures into the teaching of fundamentals notes Sarlivarisas janta varisas Alankara gitam svarajathi and jathisvaram. The lessons have been arranged in simple notation.

The second part covers the various aspects of vamam. The introduction gives a proper evaluation of various types of Varman and a not on different composer. The notations of about 40 different vamam in adi tala ata tala and pada varma have been notated in simple form for easy rendering. The varmans have been selected to represent the best from various composers of karnatic music.

The third part covers Kirtans. A detailed introduction on Keertanas and various composers have been added. The notation of about 40 popular Kirtans have been given in simple notation. Representative compositions of important composers has been selected.

The fourth part covers the musical forms like daru Varnam pada, tillanas tans varmas javali ragamilika utsava sampradaya keetanas tirupaugazh kavadi chindu etc. These compositions portray the varied facets of karnatic music all these forms have an introduction about them.

The complete reader in 4 parts will be a compendium of musical forms of karnatic music. The notations for the compositions have been in simplest form possible so that the student learner can learn them with minimal effort. The selection of compositions have been made to cover representative composers of karnatic music.

Introduction

Music is perhaps the finest of the fine arts. World music itself admits of two major branches i.e. occidental and oriental i.e. western and Indian music of these the musical system having its roots in India came to be known as Indian music. In India music had a prehistoric origin. The concept of Indian music denotes the combination of Gita, Vadya and Dance i.e. Gitam, Vadyam and Nrityam. Even the Vedic concept of Sangita denotes these three aspects of music.

Gitam Vadyam thatha nrityan tryaam sangitamuchyate

Indian music can be broadly classified into two main heads. Based on the nature of music it can be classified as marga and Desi. Marga sangita is highly sacred and religious and is believed to have been performed by gods, goddesses, Celestials, Saints etc, while Desi sangita is considered as the music of the common folk. Of the two marga sangita is the oldest and the music of the classes while Desi the music of the masses subjected to timely changes and geographical factors.

Marga sangita gradually developed into two groups i.e. Hindusthani and Karnatic. The frequent invasions which tool place in the northern regions of India influenced our musical system as well. The Persian and Afghan music influenced the music of northern parts of India and later this came to be called as Outtaraha Sangeetha, North Indian music or Hidusthani Music. The system which was prevalent in the southern regions was called Dakshinatya Sangeetha or Southern system or Karnatic music. The south Indian music had retained its won individuality and developed in its own traditional way. This bifurcation into Hindusthani and Karnatic music happened around 13th century.

The south Indian system of music developed in the southern regions of Karnataka, Tamil Nadu, Andhra Desa and Kerala (Came to be called as Karnataka desa) was named South Indian music or Karnataka Sangeetha. There is also another view prevalent which runs as follows. Karnataka means that which is audible and acceptable to the ears. Thus Karnataka sangeetha in this sense means music which is highly audible and acceptable to the ears. However Karnatic music and Hindustani music developed into two different systems highly scientific and melodic on its own Sruthi and laya constitue the parents (mother and father Sruthi: matha Laya: Pitha) of Karnatic music. These two are the essential constituent factors of Indian music. The Alapana and musical rendering is adhered strictly to sruthi and laya and are important factors which are to be noted.

Karnatic music has many salient features which are to be studied individually with great care and attention. Musical forms denote a major branch of Karnatic music.

Contents

Introduction 1
Sapta Svara/ Varisas5
Alankaram16
Gitam 32
Lakshana Gitas56
Ghanaraga Gitas63
Jathiswaram68
Svarajathi79
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