Raja deepak s (45 résultats)

Etat : New. pp. xii + 138 Illus.

hardcover. Etat : Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority.

Etat : New. pp. xii + 138 Index.

Etat : New. pp. xii + 138.

Hardcover. Etat : Good. Etat de la jaquette : New. 1st Edition. Contents ForewordArvind N Parikh Preface Acknowledgement 1 It is ?Art? Music; not Classical 2 Vehicles of the Raga Experience 3 Raga Bhairav at MidnightThe Time Theory of Ragas 4 The Gharanas of Hindustani Music 5 Dhrupad A Cultural Enigma 6 Khayal Vocalism Welcome to the Xerox Gharanas 7 Thumree Lost Without Kathak 8 The Tappa The Camel Drivers Song 9 The Rudra Veena Headed for the Museum 10 The Sitar From Nowhere to Everywhere in 300 years 11 The Surbahar In Search of an Indian Bach 12 The Sarod The Meteoric Rise 13 The Hawaiian Guitar Aloha Boys of Hindustani Music 14 The Santoor The Musical Signature of Kashmir 15 The Tanpura and Swaramandal Pillars and Laptops of Hindustani Vocalism 16 The Sarangi Awaiting a State Funeral 17 The Violin The Gift to the Carnatic Tradition to Hindustani Music 18 The Bansuri A Humble Bamboo Flute in a Highbrow Avatar 19 The Shehnai Gasping for Breath 20 The Pakhawaj and Tabla Everybody wants Zakir 21 Harmonium Controversial Yet Firmly Entrenched Suggested Readings IndexStating that Hindustani music should be rightly termed ?Art music? and not ?classical music? the book begins by discussing the features of Art music and presents an approach to appreciating Hindustani music It provides a detailed understanding of the components of the raga experience in Hindustani music including their time theory and the role of Gharanas of the musical traditionIt deals with genres of raga-based vocal music which have been performed over the last five centuries Dhrupad which has its moorings in devotional music; Khayal vocalism shaped by Sufi influences; the thumree which originated as an accompaniment to the Kathak dance; and the tappa adapted from the songs of camel drivers in the north-west frontier It takes up the use of instruments in Hindustani music especially the Rudra Veena Sitar Surbahar Sarod Santoor the Shehnai Pakhawaj the Hawaiian Guitar and many others giving an account of their origin performing styles and lineages relating to themThroughout the emphasis is on contemporary trends in Hindustani music and its prospects in the future It mentions the significant practitioners of Hindustani music both vocal and instrumental The volume will interest lovers of Indian music and also scholars who want to have a greater understanding of its traditions its contemporary appeal and trends in practice 138 pp. b/w photographs (illustrateur).…

Etat : New. pp. xii + 138 Illus.

Soft cover. Etat : New. ISBN:9788124612347.

Etat : New. pp. xii + 138 Index 1st Edition.

Soft cover. Etat : New. ISBN:9788124606254.

Etat : New. pp. xii + 138.

Soft cover. Etat : New. ISBN:9788124604823.

Etat : New. pp. xix + 246.

Hardcover. Etat : New. ISBN:9788124606162.

Etat : New. pp. xix + 246 1st Edition.

Etat : New. pp. xxx + 488 Illus.

Hardcover. Etat : New. ISBN:9788124604816.

Etat : New. pp. xix + 246.

Etat : New. pp. xxx + 488 3rd Revised Edition.

Etat : New. pp. xxx + 488.

Hardcover. Etat : New. ISBN:9788124609552.

Hardcover. Etat : New. ISBN:9788124608067.

Etat : New. pp. 480.

Etat : New. pp. 480.

Etat : New. pp. 480.

Hardcover. Etat : New. ISBN:9788124608357.

Etat : New.

Etat : As New. Unread book in perfect condition.

Hardcover. Etat : As New. Contents: Foreword/Daniel M. Neuman. Preface. 1. Prof. S.K. Saxena : The pioneering aesthetician of Hindustani Music. 2. Prof. Ashok Ranade : A Rare Guru. 3. Perspectives on Raganess. 4. The musician and his art. 5. Bhakti (the devotional spirit) in Hindustani music. 6. Amplification, recordings and Hindustani music. 7. Abstraction in our times. 8. Shaping a life in classical music. 9. Who is a maestro in Hindustani music? 10. The critical environment and the musical culture. 11. The idea of raga grammar. 12. Raga clusters in Hindustani music. 13. Wherein resides the raga. 14. The emerging generation of Khyal vocalists. 15. Aesthetic obsolescence and paradigm shifts in Hindustani vocalism: I. 16. Aesthetic obsolescence and paradigm shifts in Hindustani vocalism: II. 17. Aesthetic obsolescence and paradigm shifts in Hindustani vocalism: III. 18. Aesthetic Obsolescence and paradigm shifts in Hindustani Vocalism: IV. 19. Aesthetic obsolescence and paradigm shifts in Hindustani vocalism: V. 20. Aesthetic obsolescence and paradigm shifts in Hindustani vocalism: VI. 21. Hindustani music in the Baroda State. Glossary and explanatory notes. Bibliography. Indices. This book presents a collection of essays and lectures written by the author between 2011 and 2018. Its underlying theme - as suggested by its title - is the uniqueness of the relationship between the Hindustani musician and his art. This uniqueness is moulded by the fact that the tradition enjoins upon the performer the simultaneous role of a composer. This makes Hindustani music a three-dimensional art: contemplative, expressive and communicative. These three components serve to make Hindustani music a remarkable manifestation of continuity within change, and individuality within conformism. Viewed from this perspective, Hindustani music is not merely north Indian art music. It is inextricably linked to a multiplicity of other musical traditions - folk, devotional, tribal, martial and popular - and is an active participant in the totality of the cultural process. Every piece of performed music speaks, in some manner, on behalf the generation performing it, and addresses the corresponding generations of audiences. For the author, therefore, it is not merely sufficient to understand what Hindustani music is. It is necessary also to seek insights into why it is what it is. In this book, the author relentlessly pursues his intellectual aims by borrowing ideas from a wide range of disciplines: sociology, linguistics, cultural anthropology, acoustics, aesthetics, demography, economics, marketing finance, psycho-analysis, mythology, philosophy and even mathematics. Despite its diverse intellectual canvas, the book retains the essential "Indian-ness" of the author's argument, and simultaneously addresses an international readership. …

Etat : New.

Hardcover. Etat : New. Contents: Preface. Introduction/Lyle Wachovsky. Part I: Perspectives on Raga-ness: 1. The Raga-ness of Ragas. 2. Ragas: right and wrong. 3. Raga chemistry and beyond. 4. Kedar at sunrise? 5. Raga, rasa, meaning. 6. The Raga-ness of Compositions. 7. The Raga-ness of Compositions II. 8. The Raga-ness of Compositions III. 9. The Raga-ness of Alap. 10. The Raga-ness of Tans. 11. The Raga-ness of Musicians. Part II: The World of Ragas: 1. Adana Kanada: A raga of valour and heroism. 2. Adi Basant: fading colours of spring. 3. Ahiri: Not Ahiri Todi, not Ahir Bhairav, Simply Ahiri. 4. Ahir Bhairav: issues in raga grammar. 5. Ahir Lalit: Ravi Shankar s creation. 6. Bahar: spring in the air. 7. Basant Mukhari: persian origins, carnatic inspiration. 8. Bhairavi: the raga and the eternal feminine. 9. Bhimpalas: everyone knows it; only maestros perform it. 10. Bihag: straddling two worlds. 11. Bihagda: a popular bihag variant . 12. Bilaskhani Todi: a requiem for Miya Tansen. 13. Chandni Kedar: much ado about nothing . 14. Darbari Kanada: elephantine gait and tonal geometry. 15. Desha: romanticism rules. 16. Durga: raga of the warrior goddess. 17. Enayet Khani Kanada: Ustad Vilayat Khan s melodic experiment. 18. Gara: tonal geometry and amorphous grammar. 19. Gorakh Kalyan: evolving as a Bageshri variant. 20. Gunji-Kauns: a raga is born. 21. Hemant: an old new raga? 22. Jaitashri: an independent raga or a compound? 23. Janasammohini: carnatic, hindustani, or pakistani? 24. Jog: A versatile raga. 25. Kedar: abandoning the austere form. 26. Khambavati: a boutique raga. 27. Kshem (Khem) Kalyan: the precious Kalyan. 28. Lalit: tonal geometry and melodic mischief. 29. Lalita-Sohani: interesting concept, fragile raga-ness. 30. Madhuvanti: a grammatical orphan? 31. Malti Basant: a rare fragrance of spring. 32. Marwa, Puriya and Sohani: the tricky triplets. 33. Megh Malhar: a sombre response to nature s bounty. 34. Miya-ki Todi: a case of reluctant differentiation. 35. Multani: debilitating and oppressive. 36. Nat Kamod: solitary bandisha, limited raga-ness. 37. Patadipak: can it be called a raga? 38. Pilu: easy identification, meaningless codification. 39. Puriya Kalyan: or is it purva? what s the difference? 40. Rageshri: Bageshri s cousin. 41. Sampurna Malkauns: the concept and its manifestations. 42. Sanjh Saravali: Ustad Vilayat Khan s magnum opus. 43. Shahana: the most popular Kanada variant. 44. Shankara: mellowing of the daunting deity. 45. Shri: supplicant, spooky or belligerent? 46. Shuddha Chhaya: elusive component of a popular compound. 47. Shuddha Kalyan: how and why it is changing. 48. Tilang: a sibling of jog or parent? 49. Vacaspati: rechristened for acceptance. Glossary and Explanatory Notes. Appendices. Bibliography. Index. This book is a systematic and contemporary exploration of the uniquely Indian phenomenon of raga, which forms the foundation of the musical culture of India. Maestros speak with total conviction of a raga as having a personality. A raga must therefore be viewed not only as the governing authority of musical performance, but also as an archetype pregnant with cultural meaning. The exploration of raga-ness, therefore, can begin with the grammatical coordinates of ragas, but cannot stop there. This book attempts to extend the scope of the enquiry to cover several other facets of ragas examining the manner in which they participate in the cultural process. As such, this book provides valuable insights to scholars, researchers, connoisseurs, as well as performing musicians. Written by an author of established credentials as a musician, researcher and writer with three acclaimed works to his credit, this book explores the subject through conceptual essays in Part I, and case studies of fifty-one ragas in Part II. The case studies of ragas are supported with references to authoritative texts and reviews of recordings by recent and contemporary maestros. Written in the author's lucid and masterly style, this bo.…