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Books > Performing Arts > Theory of Indian Music: Sangita Sastra Sangraha- Part II (With Notation)
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Theory of Indian Music: Sangita Sastra Sangraha- Part II (With Notation)
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Theory of Indian Music: Sangita Sastra Sangraha- Part II (With Notation)
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About the Book

The book deals with almost all the topics which are very essential for the students of music at various levels. Biography and contribution of 14 eminent composers inclusive of three lakshanakaras viz., Ramamatya, somanatha and Venkatamakhi have been presented. The other topics dealt with are classification Musical forms, their special features, Mudras used in them, Musical Prosody, Musical Appreciation, Classification of Musical Instruments, their structure, Seats of Music, Talas and their angas, Physics of music, Gamakas, Ancient Tamil Music and their special features and lakshanas of 25 ragas. Regarding raga lakshanas, besides Graha, Amsa and Nyasa svaras occurring in the compositions their usage in the various forms of Manoodharma Sangita have been added.

 

About the Author

Dr. M. B. Vedavalli took her M.A. degree in Music, from Madras University in the year 1962. She was awarded Doctoral degree for her thesis on "Mysore as a seat of Music" in the year 1983 and D.Litt. Degree in the year 2004.

She has handled both Theory of Music and Practical classes for both under graduate and post – graduate courses for about 33 years in various institutions imparting music education.

She was a Lecturer in Stella Maris college, Madras, for 7 years, Head of the Department of Music in Seethalakshmi Ramaswami college, Trichy, for 6 years and in the Music Department of Madras University, for 20 years and retired as Professor and Head in the year 1995.

Her training under pallavi exponents and her vast experience as Lecturer in colleges and university has enabled her to write an elaborate work dealing with' the evolution, structure and procedure followed in singing Ragam, Tanarn and Pallavi for which she was awarded D. Litt. Degree.

She has authored several books on music and has presented research papers and Lecture demonstrations in many seminars organized by the universities and sabhas.

Dr. Vedavalli is the recipient of several honours. The Karnataka Ganakala parishat, Bangalore honoured her in 2006. She was honoured with the title Sangita Sastra Ratna by Sri Parthasarathy Swami Sabha, Chennai, in 2010. She is the Musicology Awardee of the Music Academy, Chennai for the year 2011- 2012.

 

Preface

The book titled Sangita Sastra Sangraha covering the syllabus prescribed for Lower Grade Examination conducted by the Government of Tamil Nadu was published in 2001 and the second edition was brought out in 2006. In continuation of the above book the second book titled Theory of Music covering the syllabus of Higher Grade Examination in Music is being released.

In this book besides topics on Musical Prosody, Mudras used in musical compositions, Musical Appreciation, Prominent seats of Music, Manodharma Sangita, Physics of Music, Musical Instruments, their classification and construction, Talas, their angas and varieties, Ancient Tamil Music and their special features, Biography and contribution of 14 composers inclusive of three great Lakshanakaras viz., Ramamatya, Somanatha, Venkatamakhi and Raga lakshanas of 25 ragas have been presented. Regarding raga lakshanas, besides Graha, Amsa and Nyasa svaras used in compositions, their usage in manodharma sangita have been added to enable the students to have deeper knowledge about the raga. The relevant syllabus and a model question paper has been printed for reference.

Many of the topics dealt with in this book are included in the syllabus of B.A. degree course conducted by the Madras University and other universities and also for diploma courses conducted in various institutions.

I hope that this book will satisfy the requirements of music teachers and aspirants of music.

I take this opportunity to thank Dr. N. Ramanathan, Retd. Professor & Head, Department of Indian. Music University of Madras and Dr. R. S. Jayalakshmi, Lecturer, (Retd.) Department of Indian Music, University of Madras for their useful suggestions in the preparation of this book.

I express my sincere thanks to Dr.G.R. Padmanabhan, Professor of Physics, R.E.C. Trichy, (Retd.) for the help rendered.

My thanks are due to my brother Mr. Sriman Narayan, for providing useful materials for the preparation of the book.

My profuse thanks are due to my husband Dr. G.R. Srinivasan and my brother M.B. Ramaswamy for the help rendered by them at different stages in the preparation of the book.

I express my sincere gratitude to my Sister-in-law, Mrs. Lalitha Sampathkumar, for the efforts taken by her for type setting this book with all diacritic marks and special symbols pertaining to music and for the neat execution of the job.

 

Contents

 

  PREFACE V
CHAPTER I Principles of s r g m notation 1
CHAPTER II Musical Prosody, Prasa, Yati, Antya Prasa 5
CHAPTER III Musical Appreciation. 15
CHAPTER IV Gayaka qunas and d6shas. 20
CHAPTER V Mudras figuring in Musical Compositions. 22
CHAPTER VI Biography and contribution of the  
  following composers  
1 Jayadeva 28
2 Ramamatya 31
3 Somanatha 37
4 Narayana Tirtha 43
5 Bhadrachala Ramadas 46
6 Venkatarnakhi 48
7 Kshetrajfia 57
8 Paidala GurumOrthy Sastri 59
9 Svati Tirunal 60
10 Subbarava Sastri 63
11 Vina Kuppayyar 64
12 Mysore Sadasiva Rao 67
13 Patnarn Subrahmanya Iyer 69
14 Pallavi Seshayyar 71
CHAPTER VII Seats of Music  
a Tanjore 73
b Madras 74
c Mysore 77
d Travancore 79
e Udalyarpalalvarn 82
CHAPTER VIII Classification of Musical Instruments 84
CHAPTER IX Structure of the Musical Instruments  
1 Vina 88
2 Violin 90
3 Tambura 93
4 Gotuvadyam 95
5 Flute 96
6 Nagasvaram 96
7 Mridangam 97
CHAPTER X Accompaniments 99
CHAPTER XI Musical Sound and Noise 103
CHAPTER XII Musical Intervals - Vadi, sarnvadt, 108
  Anuvadi, Vivadi  
CHAPTER XIII Graha bhedarn 110
CHAPTER XIV A) Gramophone 113
  B) Radio 116
CHAPTER XV A) Open Air Theatre 119
  B) Acoustics of Concert Halls 119
  Theory of Music Paper II  
CHAPTER XVI Raga takshanas  
  Saveri 123
  Chakravaka 126
  Vasanta - 128
  Anandabhairavi 130
  Kiravani 133
  Kharaharapriya 135
  Sriranjani 137
  Darbar 139
  Ritigaula 141
  Mukhari 143
  Harikambhoji 146
  Natakuranji 148
  Kedaragaula 150
  surati 152
  Sahana 155
  Yadukulakambhoji 157
  Arabhi 160
  Begada 162
  Athana 164
  Devagandhari 167
  Nilambari 169
  Nata 172
  Purvakalyani 174
  Shanmukhapriya 176
  Saranga 178
CHAPTER XVII Manodharma Sangita and its Forms 181
CHAPTER XVIII Shadangas and Shodasangas 190
CHAPTER XIX A) Chapu tala and its varieties 193
  B) Desadi and Madhyadi talas 193
CHAPTER XX Taladasa pranas 195
CHAPTER XXI A) Musical Forms and their classification 198
  B) Lakshana of the following forms:  
1 Ragamalika 199
2 Pada 203
3 Javali 205
4 Tillana 206
CHAPTER XXII Forms figuring in Geyanatakas 208
CHAPTER XXIII Dasavidha gamakas 211
CHAPTER XXIV Folk Music and its characteristics 214
CHAPTER XXV Ancient Tamil Music 216
CHAPTER XXVI Yazh and its construction 221
  Syllabus of the Higher grade Examination  
  Paper I 225
  Paper II 227
  Question Paper (Model)  
  Paper I 229
  Paper II 230
  Bibliography 231
Sample Pages









 

Theory of Indian Music: Sangita Sastra Sangraha- Part II (With Notation)

Item Code:
NAL753
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Edition:
2011
Language:
English
Size:
8.0 inch x 5.5 inch
Pages:
243
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Weight of the Book: 280 gms
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$25.00
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About the Book

The book deals with almost all the topics which are very essential for the students of music at various levels. Biography and contribution of 14 eminent composers inclusive of three lakshanakaras viz., Ramamatya, somanatha and Venkatamakhi have been presented. The other topics dealt with are classification Musical forms, their special features, Mudras used in them, Musical Prosody, Musical Appreciation, Classification of Musical Instruments, their structure, Seats of Music, Talas and their angas, Physics of music, Gamakas, Ancient Tamil Music and their special features and lakshanas of 25 ragas. Regarding raga lakshanas, besides Graha, Amsa and Nyasa svaras occurring in the compositions their usage in the various forms of Manoodharma Sangita have been added.

 

About the Author

Dr. M. B. Vedavalli took her M.A. degree in Music, from Madras University in the year 1962. She was awarded Doctoral degree for her thesis on "Mysore as a seat of Music" in the year 1983 and D.Litt. Degree in the year 2004.

She has handled both Theory of Music and Practical classes for both under graduate and post – graduate courses for about 33 years in various institutions imparting music education.

She was a Lecturer in Stella Maris college, Madras, for 7 years, Head of the Department of Music in Seethalakshmi Ramaswami college, Trichy, for 6 years and in the Music Department of Madras University, for 20 years and retired as Professor and Head in the year 1995.

Her training under pallavi exponents and her vast experience as Lecturer in colleges and university has enabled her to write an elaborate work dealing with' the evolution, structure and procedure followed in singing Ragam, Tanarn and Pallavi for which she was awarded D. Litt. Degree.

She has authored several books on music and has presented research papers and Lecture demonstrations in many seminars organized by the universities and sabhas.

Dr. Vedavalli is the recipient of several honours. The Karnataka Ganakala parishat, Bangalore honoured her in 2006. She was honoured with the title Sangita Sastra Ratna by Sri Parthasarathy Swami Sabha, Chennai, in 2010. She is the Musicology Awardee of the Music Academy, Chennai for the year 2011- 2012.

 

Preface

The book titled Sangita Sastra Sangraha covering the syllabus prescribed for Lower Grade Examination conducted by the Government of Tamil Nadu was published in 2001 and the second edition was brought out in 2006. In continuation of the above book the second book titled Theory of Music covering the syllabus of Higher Grade Examination in Music is being released.

In this book besides topics on Musical Prosody, Mudras used in musical compositions, Musical Appreciation, Prominent seats of Music, Manodharma Sangita, Physics of Music, Musical Instruments, their classification and construction, Talas, their angas and varieties, Ancient Tamil Music and their special features, Biography and contribution of 14 composers inclusive of three great Lakshanakaras viz., Ramamatya, Somanatha, Venkatamakhi and Raga lakshanas of 25 ragas have been presented. Regarding raga lakshanas, besides Graha, Amsa and Nyasa svaras used in compositions, their usage in manodharma sangita have been added to enable the students to have deeper knowledge about the raga. The relevant syllabus and a model question paper has been printed for reference.

Many of the topics dealt with in this book are included in the syllabus of B.A. degree course conducted by the Madras University and other universities and also for diploma courses conducted in various institutions.

I hope that this book will satisfy the requirements of music teachers and aspirants of music.

I take this opportunity to thank Dr. N. Ramanathan, Retd. Professor & Head, Department of Indian. Music University of Madras and Dr. R. S. Jayalakshmi, Lecturer, (Retd.) Department of Indian Music, University of Madras for their useful suggestions in the preparation of this book.

I express my sincere thanks to Dr.G.R. Padmanabhan, Professor of Physics, R.E.C. Trichy, (Retd.) for the help rendered.

My thanks are due to my brother Mr. Sriman Narayan, for providing useful materials for the preparation of the book.

My profuse thanks are due to my husband Dr. G.R. Srinivasan and my brother M.B. Ramaswamy for the help rendered by them at different stages in the preparation of the book.

I express my sincere gratitude to my Sister-in-law, Mrs. Lalitha Sampathkumar, for the efforts taken by her for type setting this book with all diacritic marks and special symbols pertaining to music and for the neat execution of the job.

 

Contents

 

  PREFACE V
CHAPTER I Principles of s r g m notation 1
CHAPTER II Musical Prosody, Prasa, Yati, Antya Prasa 5
CHAPTER III Musical Appreciation. 15
CHAPTER IV Gayaka qunas and d6shas. 20
CHAPTER V Mudras figuring in Musical Compositions. 22
CHAPTER VI Biography and contribution of the  
  following composers  
1 Jayadeva 28
2 Ramamatya 31
3 Somanatha 37
4 Narayana Tirtha 43
5 Bhadrachala Ramadas 46
6 Venkatarnakhi 48
7 Kshetrajfia 57
8 Paidala GurumOrthy Sastri 59
9 Svati Tirunal 60
10 Subbarava Sastri 63
11 Vina Kuppayyar 64
12 Mysore Sadasiva Rao 67
13 Patnarn Subrahmanya Iyer 69
14 Pallavi Seshayyar 71
CHAPTER VII Seats of Music  
a Tanjore 73
b Madras 74
c Mysore 77
d Travancore 79
e Udalyarpalalvarn 82
CHAPTER VIII Classification of Musical Instruments 84
CHAPTER IX Structure of the Musical Instruments  
1 Vina 88
2 Violin 90
3 Tambura 93
4 Gotuvadyam 95
5 Flute 96
6 Nagasvaram 96
7 Mridangam 97
CHAPTER X Accompaniments 99
CHAPTER XI Musical Sound and Noise 103
CHAPTER XII Musical Intervals - Vadi, sarnvadt, 108
  Anuvadi, Vivadi  
CHAPTER XIII Graha bhedarn 110
CHAPTER XIV A) Gramophone 113
  B) Radio 116
CHAPTER XV A) Open Air Theatre 119
  B) Acoustics of Concert Halls 119
  Theory of Music Paper II  
CHAPTER XVI Raga takshanas  
  Saveri 123
  Chakravaka 126
  Vasanta - 128
  Anandabhairavi 130
  Kiravani 133
  Kharaharapriya 135
  Sriranjani 137
  Darbar 139
  Ritigaula 141
  Mukhari 143
  Harikambhoji 146
  Natakuranji 148
  Kedaragaula 150
  surati 152
  Sahana 155
  Yadukulakambhoji 157
  Arabhi 160
  Begada 162
  Athana 164
  Devagandhari 167
  Nilambari 169
  Nata 172
  Purvakalyani 174
  Shanmukhapriya 176
  Saranga 178
CHAPTER XVII Manodharma Sangita and its Forms 181
CHAPTER XVIII Shadangas and Shodasangas 190
CHAPTER XIX A) Chapu tala and its varieties 193
  B) Desadi and Madhyadi talas 193
CHAPTER XX Taladasa pranas 195
CHAPTER XXI A) Musical Forms and their classification 198
  B) Lakshana of the following forms:  
1 Ragamalika 199
2 Pada 203
3 Javali 205
4 Tillana 206
CHAPTER XXII Forms figuring in Geyanatakas 208
CHAPTER XXIII Dasavidha gamakas 211
CHAPTER XXIV Folk Music and its characteristics 214
CHAPTER XXV Ancient Tamil Music 216
CHAPTER XXVI Yazh and its construction 221
  Syllabus of the Higher grade Examination  
  Paper I 225
  Paper II 227
  Question Paper (Model)  
  Paper I 229
  Paper II 230
  Bibliography 231
Sample Pages









 

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