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Books > Performing Arts > Music > Swararangee (Compositions in North Indian Semi-Classical and Light Music Thumri, Daadraa, Ghazal, Bhaktigeet and Marathi Ghazal, Bhaktigeet with Notation and CD)
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Swararangee (Compositions in North Indian Semi-Classical and Light Music Thumri, Daadraa, Ghazal, Bhaktigeet and Marathi Ghazal, Bhaktigeet with Notation and CD)
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Swararangee (Compositions in North Indian Semi-Classical and Light Music Thumri, Daadraa, Ghazal, Bhaktigeet and Marathi Ghazal, Bhaktigeet with Notation and CD)
Look Inside the Book
Description
About the Book

‘Bandish’ in classical and semi-classical music, and ‘rachanaa’ in light music are an important component of musical material and it has a distinct role in making of North Indian (Hindustani) music. While bandish enters as an important component of musical material in classical and semi-classical music, sangeet rachanaa comes up as a complete from in light music. To create a bandish in semi-classical music, one has to have sound knowledge about – swar, raag, taal, from interest in literature, affinity towards, ability to create novelty in the context of tradition, independent style, etc., Similarly, in light music one is bound by – selection and placement of the words according to the theme of the song, musical score, tempo, rhythmic structure, etc.

Dr. Praba Atre’s bandishs and rachanaas reflect all the above mentioned qualities. It is rare to finds a woman performer who has composed bandishs in different genres representative of changing times. It is even rare to find an artiste writing on contemporary music performance from different perspectives.

In this book, there are 137 compositions in 38 mishra raags, which including forms like thumri, daadraa, ghazal bhaktigeet along with Marathi ghazal, bhavageet, bhaktigeet. For one who wishes to present thumri, daadraa one after the other in the same raag, there are complememtary themes to enhance the emotional content. The book also contains compositions in common and unused raags like Kanakaangi, Shivaranjani, etc., along with some new created jod (combined) raags like Kaafi Ranjani, Gaaraa Malhaar, etc. The notation and the accompanying illustrative audio recording of the bandish will help music lovers and students to enjoy better.

Internationally renowned Hindustani classical vocalist Dr. Prabha Atre is perhaps the only performer who has also excelled as a brilliant thinker academician, author composer, researcher, reformer and guru. She is the senior most, front ranking vocalist representing the Kirana gharaanaa, today. A Science and Law graduate, she holds a Doctorate in music.

Dr. Atre, a former Professor and Head of the Department of Music, SNDT Women’s University, Mumbai, has been teaching traditional guru-shishya style from than 45 years. She is an acclaimed guru in India and abroad, both in performance and research.

A ‘Top’ grade artiste of the All India radio and Doordarshan, Dr. Atre has been giving concerts for nearly 6 decades. She has displayed constant innovation and creative endeavour which has distinguished her from other vocalists, both in the classical and light classical idioms. With her keen aesthetic sense, brilliant thinking and deep critical approach, Dr. Atre has given insight, meaning and approach to established raags which have become the norms for their presentation.

Dr. Atre has authored several academic books on the various aspects that are especially relevant to the present day performance. Her Doctoral thesis on ‘Sargam’ or the use of sol-fa names as musical material and her books ‘Swaramyee’, ‘Suswaraalee’, ‘Swaraanginee’, ‘Swaranjanee’, ‘Swarangee’, ‘antahswar’, ‘Enlightening the Listener’ and ‘along the Fath of Music’, bear testimony to her various accomplishments.

In recognition of Dr. Atre’s contributions to Indian art music, she has been bestowed with the National honours – ‘Padmashree’, Padmabhushan’ from the Government of India; ‘Tagore Akademi Fellow’, ‘Sangeet Natak Akademi Award’ from the sangeet Natak Akademi; amongst many others.

Dr. Prabha Atre’s bandishs are the hall mark of aesthetical precision and emotional appeal. These bandish depict beautiful blend of tradition, novelty and contemporary trends in music. Nearly 550 compositions in various forms like khyaal, taraanaa, thumri, daadraa, bhaktigeet, ghazal, etc. have been included in the 3 books of her compositions.

 

About the Author

Dr. Prabha Atre has a place of distinction amongst senior Hindustani classical artistes. Keen aesthetic sense, brilliant thinking and critical approach – the triveni (confluence) has put her on a unique path of beauty and novelty. Aesthetics, technical precision and emotional appeal are the hall mark of her bandishs. These bandishs depict beautiful blend of tradition, novelty and contermporary trends in music. With their natural beauty, poise and lay listeners.

Looking at the changing trends in music, there s a great need for new bandishs. I am sure, the music world will accept ‘Swararangee’ with warmth and open mind.

 

Contents

 

  Welcome 'Swararangee' i
  Bandish: A Prespective iii
  Bandish: A Musical Material vii
  My Music Compositions xiv
  Journey of music Composing xx
  Acknowledgements xxiv
  Glossary xxv
 
Itroduction
 
 
 
Semi-Classical Music
 
 
1 Raag Mishra Maand Bhairav 2-3
2 Raag Mishra Jogiyaa 4-7
3 Raag Mishra Madhmaad Saarang 8-11
4 Raag Mishra Saarang 12-13
5 Raag Mishra Kanakaangi 14-21
6 Raag Mishra Bhairavi 22-43
7 Raag Mishra Khamaaj 44-59
8 Raag Mishra Des 60-73
9 Raag Mishra Maand 74-77
10 Raag Mishra Kaafi 78-87
11 Raag Mishra Kaafi Malhaar 88-89
12 Raag Mishra Tilang 90-105
13 Rag Mishra Jhinjhoti 106-109
14 Raag Mishra Maanjkhamaaj 110-115
15 Raag Mishra Pahaadi 132-153
16 Raag Mishra Peelu 154-171
17 Raag Misgra Naayaki Kaanadaa 172-177
18 Ragg Mishra Gaaraa 180-191
19 Raag Mishra malhaar 192-195
20 Raag Misghra gaaraa Malhaar 196-199
21 Raag Mishra Maaru Bihaag 200-203
22 Raag Mishra Shivaranjani 204-207
23 Raag Mishra Kaafi Ranjani 208-209
 
Light Music
 
 
Gazal
 
1 Raag Mishra pahaadi 210-211
2 Raag Mishra Bhoop Kalyaan 212-215
3 Raag Mishra Gaud Saarang 220-223
 
Bhaktigeet
 
1 Raag Mishra Bhairavi 224-225
2 Raag Mishra Nat Bhairav 226-227
 
Light Music
 
3 Raag Mishra Bhoop 228-229
4 Raag Mishra Bheempalaas 230-233
5 Raag Mishra Patadeep 2354-237
6 Raag Mishra Bihag 238-239
7 Raag Mishra Khamaj 240-241
8 Raag Mishra Kaafi 242-245
9 Raag Mishra Jaijaiwanti 246-249
10 Raag Mishra Maand 250-251
11 Rag Mishra Baageshree 252-253
12 Raag Mishra Hemant 254-255
13 Ragg Mishra Maru Bihaag 256-259
14 Raag Mishra Maanjkhamaaj 260-267
15 Raag Mishra Pahaadi 268-269
16 Ragg Mishra Bhairavi 270-317
 
Bhaavageet (Maraathee)
 
1 Raag Mishra Nand 318-319
2 Raag Mishra Bhairavi 320-323
 
Gazal (Maraathee)
 
1 Raag: Daadraa Taal 324-325
2 Raag Mishra Maand 326-333
3 Raag Mishra PAtadeep 334-337
4 Raag Mishra Shivaranjani 338-337
5 Raag Mishra Shivaranjani 342-345
6 Raag Mishra Gaaraa 346-349
7 Raag Mishra Pahaadi 350-353
8 Raag Mishra Saarang 354-359
 
Light Music
 
 
Bhaktogeet (Maraathee)
 
1 Raag Mishra Parameshwari 360-361
2 Raag Mishra Shivaranjani 362-365
3 Raag Mishra Maanjkhammaj 366-369
4 Raag Mishra Patadeep 370-371
5 Raag mishra Pahaadi 372-379
6 Raag Mishra Bhairavi 380-381
Annexure 1   382-384
Annexure 2   385-389
Annexure 3   390

 

Sample Pages




















Swararangee (Compositions in North Indian Semi-Classical and Light Music Thumri, Daadraa, Ghazal, Bhaktigeet and Marathi Ghazal, Bhaktigeet with Notation and CD)

Item Code:
NAM404
Cover:
Hardcover
Edition:
2016
ISBN:
9788188827671
Language:
English
Size:
10.0 inch X 7.5 inch
Pages:
442
Other Details:
Weight of the Book: 970 gms
Price:
$65.00   Shipping Free - 4 to 6 days
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About the Book

‘Bandish’ in classical and semi-classical music, and ‘rachanaa’ in light music are an important component of musical material and it has a distinct role in making of North Indian (Hindustani) music. While bandish enters as an important component of musical material in classical and semi-classical music, sangeet rachanaa comes up as a complete from in light music. To create a bandish in semi-classical music, one has to have sound knowledge about – swar, raag, taal, from interest in literature, affinity towards, ability to create novelty in the context of tradition, independent style, etc., Similarly, in light music one is bound by – selection and placement of the words according to the theme of the song, musical score, tempo, rhythmic structure, etc.

Dr. Praba Atre’s bandishs and rachanaas reflect all the above mentioned qualities. It is rare to finds a woman performer who has composed bandishs in different genres representative of changing times. It is even rare to find an artiste writing on contemporary music performance from different perspectives.

In this book, there are 137 compositions in 38 mishra raags, which including forms like thumri, daadraa, ghazal bhaktigeet along with Marathi ghazal, bhavageet, bhaktigeet. For one who wishes to present thumri, daadraa one after the other in the same raag, there are complememtary themes to enhance the emotional content. The book also contains compositions in common and unused raags like Kanakaangi, Shivaranjani, etc., along with some new created jod (combined) raags like Kaafi Ranjani, Gaaraa Malhaar, etc. The notation and the accompanying illustrative audio recording of the bandish will help music lovers and students to enjoy better.

Internationally renowned Hindustani classical vocalist Dr. Prabha Atre is perhaps the only performer who has also excelled as a brilliant thinker academician, author composer, researcher, reformer and guru. She is the senior most, front ranking vocalist representing the Kirana gharaanaa, today. A Science and Law graduate, she holds a Doctorate in music.

Dr. Atre, a former Professor and Head of the Department of Music, SNDT Women’s University, Mumbai, has been teaching traditional guru-shishya style from than 45 years. She is an acclaimed guru in India and abroad, both in performance and research.

A ‘Top’ grade artiste of the All India radio and Doordarshan, Dr. Atre has been giving concerts for nearly 6 decades. She has displayed constant innovation and creative endeavour which has distinguished her from other vocalists, both in the classical and light classical idioms. With her keen aesthetic sense, brilliant thinking and deep critical approach, Dr. Atre has given insight, meaning and approach to established raags which have become the norms for their presentation.

Dr. Atre has authored several academic books on the various aspects that are especially relevant to the present day performance. Her Doctoral thesis on ‘Sargam’ or the use of sol-fa names as musical material and her books ‘Swaramyee’, ‘Suswaraalee’, ‘Swaraanginee’, ‘Swaranjanee’, ‘Swarangee’, ‘antahswar’, ‘Enlightening the Listener’ and ‘along the Fath of Music’, bear testimony to her various accomplishments.

In recognition of Dr. Atre’s contributions to Indian art music, she has been bestowed with the National honours – ‘Padmashree’, Padmabhushan’ from the Government of India; ‘Tagore Akademi Fellow’, ‘Sangeet Natak Akademi Award’ from the sangeet Natak Akademi; amongst many others.

Dr. Prabha Atre’s bandishs are the hall mark of aesthetical precision and emotional appeal. These bandish depict beautiful blend of tradition, novelty and contemporary trends in music. Nearly 550 compositions in various forms like khyaal, taraanaa, thumri, daadraa, bhaktigeet, ghazal, etc. have been included in the 3 books of her compositions.

 

About the Author

Dr. Prabha Atre has a place of distinction amongst senior Hindustani classical artistes. Keen aesthetic sense, brilliant thinking and critical approach – the triveni (confluence) has put her on a unique path of beauty and novelty. Aesthetics, technical precision and emotional appeal are the hall mark of her bandishs. These bandishs depict beautiful blend of tradition, novelty and contermporary trends in music. With their natural beauty, poise and lay listeners.

Looking at the changing trends in music, there s a great need for new bandishs. I am sure, the music world will accept ‘Swararangee’ with warmth and open mind.

 

Contents

 

  Welcome 'Swararangee' i
  Bandish: A Prespective iii
  Bandish: A Musical Material vii
  My Music Compositions xiv
  Journey of music Composing xx
  Acknowledgements xxiv
  Glossary xxv
 
Itroduction
 
 
 
Semi-Classical Music
 
 
1 Raag Mishra Maand Bhairav 2-3
2 Raag Mishra Jogiyaa 4-7
3 Raag Mishra Madhmaad Saarang 8-11
4 Raag Mishra Saarang 12-13
5 Raag Mishra Kanakaangi 14-21
6 Raag Mishra Bhairavi 22-43
7 Raag Mishra Khamaaj 44-59
8 Raag Mishra Des 60-73
9 Raag Mishra Maand 74-77
10 Raag Mishra Kaafi 78-87
11 Raag Mishra Kaafi Malhaar 88-89
12 Raag Mishra Tilang 90-105
13 Rag Mishra Jhinjhoti 106-109
14 Raag Mishra Maanjkhamaaj 110-115
15 Raag Mishra Pahaadi 132-153
16 Raag Mishra Peelu 154-171
17 Raag Misgra Naayaki Kaanadaa 172-177
18 Ragg Mishra Gaaraa 180-191
19 Raag Mishra malhaar 192-195
20 Raag Misghra gaaraa Malhaar 196-199
21 Raag Mishra Maaru Bihaag 200-203
22 Raag Mishra Shivaranjani 204-207
23 Raag Mishra Kaafi Ranjani 208-209
 
Light Music
 
 
Gazal
 
1 Raag Mishra pahaadi 210-211
2 Raag Mishra Bhoop Kalyaan 212-215
3 Raag Mishra Gaud Saarang 220-223
 
Bhaktigeet
 
1 Raag Mishra Bhairavi 224-225
2 Raag Mishra Nat Bhairav 226-227
 
Light Music
 
3 Raag Mishra Bhoop 228-229
4 Raag Mishra Bheempalaas 230-233
5 Raag Mishra Patadeep 2354-237
6 Raag Mishra Bihag 238-239
7 Raag Mishra Khamaj 240-241
8 Raag Mishra Kaafi 242-245
9 Raag Mishra Jaijaiwanti 246-249
10 Raag Mishra Maand 250-251
11 Rag Mishra Baageshree 252-253
12 Raag Mishra Hemant 254-255
13 Ragg Mishra Maru Bihaag 256-259
14 Raag Mishra Maanjkhamaaj 260-267
15 Raag Mishra Pahaadi 268-269
16 Ragg Mishra Bhairavi 270-317
 
Bhaavageet (Maraathee)
 
1 Raag Mishra Nand 318-319
2 Raag Mishra Bhairavi 320-323
 
Gazal (Maraathee)
 
1 Raag: Daadraa Taal 324-325
2 Raag Mishra Maand 326-333
3 Raag Mishra PAtadeep 334-337
4 Raag Mishra Shivaranjani 338-337
5 Raag Mishra Shivaranjani 342-345
6 Raag Mishra Gaaraa 346-349
7 Raag Mishra Pahaadi 350-353
8 Raag Mishra Saarang 354-359
 
Light Music
 
 
Bhaktogeet (Maraathee)
 
1 Raag Mishra Parameshwari 360-361
2 Raag Mishra Shivaranjani 362-365
3 Raag Mishra Maanjkhammaj 366-369
4 Raag Mishra Patadeep 370-371
5 Raag mishra Pahaadi 372-379
6 Raag Mishra Bhairavi 380-381
Annexure 1   382-384
Annexure 2   385-389
Annexure 3   390

 

Sample Pages




















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