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The Ragas of Northern Indian Music Reprint

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Book Information

Herausgeber:Munshiram Manoharlal Publishers
Herausgegeben in:31-Dec-2007
ISBN:812150225X
ISBN13:9788121502252
Bindung:Hardback
Gewicht:2 gms
Biblio:pp. xii + 403, Figure, Illus., Tables, Biblio.

Der Titel "The Ragas of Northern Indian Music Reprint" wurde geschrieben von Alain Danielou. Dieses Buch wurde veröffentlicht im Jahr 3120. Die ISBN 812150225X|9788121502252 ist der Hardback Ausgabe dieses Buchs zugewiesen. Das hier gezeigte Buch ist eine Reprint Ausgabe. Dieses Buch hat insgesamt pp. xii + 403 Seiten. Der Herausgeber dieses Titels ist Munshiram Manoharlal Publishers. Wir haben etwa 1413 andere großartige Bücher von diesem Herausgeber. The Ragas of Northern Indian Music Reprint ist derzeit bei uns erhältlich.

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Über das Buch

The first part of the Book traces the History of Indian music and the continuity of its theory and practice for more than two thousand years. It is based on many years' research into the vast ancient Sanskrit literature of music. These valuable technical treatises, which lie in the form of scarcely catalogued manuscripts throughout the public and private libraries of India, had hitherto remained unemplored. Part Two transcribes and studies in detail 50 typical Raga-s. Each is preceded by a Sanskrit poem in translation which depicts the atmosphere; then follows an analysis of the scale, covering its intervals and expression, a study of the theme with its characteristic motives and finally a typical development.

The present work is based on the author's two-volume Northern Indian Music published in London (but not America) some ten years ago, but long out of print and much sought after by students. It was described by Colin Mason in the Manchester Guardian as "of immense value to any practical musician" and "an invaluable addition to the very scanty literature of a fascinating and neglected subject". This new version contains a number of additional Raga-s; the earlier text has been extensively revised and many music examples redrawn for greater clarity and accuracy. Some abridgement has taken place, but only of material which appeared originally for the benefit of Indian readers unfamiliar with Western staff notation, those able to read Sanskrit, and specialists in Sanskrit literature.

The book provides modern composers outside India with a source of new Inspiration and enables practising musicians to play and study some of the endlessly variegated modes for which Indian music is unique.

Über den Autor

UNESCO Danielou is Director of the International Institute for Comparative Music Studies and Documentation, Berlin, and adviser for Oriental Music to the International Music Council (UNESCO). Born in Paris, he pursued scientific and artistic studies before specialising in musicology. He travelled extensively in North Africa, the Middle East, China and Japan and then settled in India, where he studied Indian Music and philosophy, Hindi and Sanskrit, and made a unique collection (over 800 of Sanskrit manuscripts on music. In 1949 he was appointed Research Professor of Music at Benares Hindu University and in 1954 became Director of the Adyar Library and Research Centre in Madras. In 1959 he returned to Europe, joining the Ecole Francaise d'Extreme Orient in Paris, and subsequently became Director of Studies of the Centre d'Etudes de Musique Orientale of Paris. He has written extensively in both French and English on Oriental Music and on many aspects of Indian History and culture, and has also published two novels. He is the General Editor of the three Unesco collections of records : "Anthology of the Orient" (Barenreiter Musicaphon), "Musical Sources". (Philips, Holland) and "Musical Altas" (EMI, Italy).

Inhalte

Foreword

Part I : INDIAN MUSICAL THEORY
Chap. I : THE HISTORY OF INDIAN MUSIC
1. The Four Schools (mata-s)
2. The Sanskrit Writers on Music
3. First Period (Puranic-Vedic-Epic)
4. The Second (Buddhist) Period
5. The Third (Medieval) Period
6. The Fourth (Modern) Period
7. The Chief Writers of the Fourth (Modern) Period

Chap. II : BASES OF MELODIC STRUCTURES
1. The Nature of Sound
2. The Tonic or Drone
3. The Three Main Octaves (Saptaka-s)
4. The Seven Notes (Svara-s)
5. The Intercalary Notes
6. The Intervals (shruti-s)
7. The Measurement of the Shruti-s
8. The Notation of the Shruti-s
9. The Expression of the Shruit-s
10. A Suggested Interpretation of the Families of intervals (Shruti-Jati-s)
11. Flats and Sharps
12. The Scale
13. The Three Basic Scales (Grama-s)
14. Modal Scales (Murch Hana-s)
15. Class (Jati)
16. Mode-Types (Thata-s)
17. Group
18. Graha, Amsha, nyasa
19. The Predominant Note or Sonant (vadi)
20. The Consonant (Samvadi)
21. The Assonant (Anuvadi)
22. The Dissonant (Vivadi)

Chap. III : RHYTHM
1. Tempo (Laya)
2. Rhythm (tala)
3. The Main Rhythms (tala-s)
4. Syncopation

Chap. IV : MELODIC DEVELOPMENT
1. Melodic Movement (varna)
2. Melodic Figures (tana-s)
3. Ascent and Descent (Aroha, Avaroha)
4. Ornaments (Alamkara)
5. Grace (Gamaka)
6. The four Phases in the Development Of A Raga
7. Styles of Music
8. Styles of Singing or PLAYING

CHAP. V : THE RAGA-S
1. The Number of Raga-s
2. Moods, Colours and Notes
3. The Description of Raga-s in Verse and Pictures
4. Tuning of the Instruments
5. Theme (Rupa) and Outline
6. Time of Play

PART II : NOTATION AND ANALYSIS OF THE RAGA-S

CHAP. I : EARLY MORNING RAGA-S
1. Lalita (at Dawn)
2. Vibhasa (at Sunrise)

3. Bhairava Group (After Sunrise)
i. Yogiya
a. Yogiyal
b. Yogiya II
ii. Prabhat
iii. Shiva Bhairava
iv. Ananda Bhairava
v. Bangala Bhairava
vi. Bhairava
vii. Ramakali
ix. Gunakali

4. Todi, Group I (First Quarter of the Day)
i. Gurjari
ii. Mukhari
iii. Lachari Todi
iv. Todi
v. Vilasakhani Todi

5. Todi, Group II (Yavanapuri) (First Quarter of the Day)
i. Gandhari
ii. Deshi
iii. Pathamanjari
iv. Yavanapuri
v. Asavari

Chap. II : LATE MORNING RAGA-S
6. Bhairavi Group (Second Quarter of the Day)
i. Rewa
ii. Dhani
iii. Shat
iv. Bhairavi
v. Bhupala
vi. Sa-manta

7. Bilaval Group (Second Quarter of the Day)
i. Bilaval
ii. Lach'ha Bilaval
iii. Kakubha Bilaval
iv. Alhaiya Bilaval

Chap. IIII : NOON AND AFTERNOON RAGA-S
8. Saranga Group (Noon)
i. SSranga
ii. Madhyamadi Saranga
iii. Brindabani Saranga
iv. Gauda Saranga

9. Shri Group (Last Quarter of the Day)
i. Dhanashri
ii. Malavashri
iii. Shri
iv. Bhimapalashri
v. Multani
10. Nata (in the Afternoon)

Chap. IV : EVENING RAGA-S
11. Pilu (at the End of the Day)

12. Puravi group
i. Marava
ii. Puravi
iii. Rat Puriya
13. Dipaka (After Sunset)

Chap. V : RAGA-S OF THE EARLY NIGHT
14. Kalyana Group (Night, First Watch)
i. Yaman-Kalyana
ii. Tilaka Kamoda
iii. Gopi Kambhoji
iv. Yaman
v. Kamoda
vi. Chhayanata
vii. Kedara
viii. Bhupali

15. Khammaja Group (Night, First Quarter)
i. DURGA
ii. Hambir
iii. Khammaja

Chap. VI : RAGA-S OF THE DEEP OF NIGHT
16. Kanada Group (Second Quarter of the Night)
i. Suha
ii. Sindhura
iii. Sahana
iv. Kafi
v. Sinddha Kafi
vi. Kanada
vii. Bageshri
viii. Jayajavanti
ix. Bahar

Chap. VII : RAGA-S OF MIDNIGHT AND LATE NIGHT
17. Malakosha (at Night)
18. Bihaga

19. Para] Group (After Midnight)
i. Paraj
ii. Sohini
20. Shankara (at the End of the Night)
21. Kalingada (Before Dawn)

Chap. VIII : SEASONAL RAGA-S
22. Spring Raga-s
i. Hindola
ii. Vasanta
iii. Panchama

23. Raga-s of the Rainy Season
i. Miyan Mallar
ii. Desha Mallar
iii. Gauda Mallar
iv. Surat Mallar
v. Shuddha Mallar
vi. Megha Mallar
DISCOGRAPHY