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The Art of Tablā Rhythm by Sudhir Kumar Saxena Pdf
Beginning With The Evolution Of The Tabla, The Book Deals Comprehensively With Tabla Rhythm And Explains The Technique Of Producing The Basic Bols. It Further Describes The Way To Do Reyaz On The Tabla, And Explains The Principal Compositions That Make Up A Standard Tabla Recital. The Cd Accompanying The Book Carries Samples Of The Tabla Of The Major Gharanas.
Hindustani Sangeet and a Philosopher of Art by Sushil Kumar Saxena Pdf
The Book Seeks To Weigh Some Basic Facts And Concepts Of Hindustani Sangeet (Music, Rhythm And Kathak Dance) Against The Art Theories Of Susanne K. Langer, An Eminent Aesthetician Of The Recent Past, Incorporating Numerous Illustrative References To Hindustani Sangeet.
Drums and Drum Ensembles along the Great Silk Road by Xiao Mei,Gisa Jähnichen Pdf
This volume comprises fifteen selected papers in five chapters from the 27th ICTM Colloquium on Drums and Drum Ensembles along the Great Silk Road. It testifies to how human cultures are never created in seclusion. The richness of drums and drum ensembles, including their repertoires, are also connected to long-term exchanges in military affairs, trades, and religions of various peoples. Despite the obvious prevalence of drums among all peoples around the world, their understanding and their repertoires vary due to different contexts. The studies of music originating on the Silk Road presented in this volume pay particular attention to the multiple flows of knowledge between numerous distinctive regions in the narrower geographical and temporal scope.
The 1903 Mrdang aur Tabla Vadanpaddhati is a revelatory text that has never been translated or analysed. It is a manual for playing the two most important drums of North Indian (Hindustani) music, the pakhavaj (mrdang) and the tabla. Owing to its relative obscurity, it is a source that has never been discussed in the literature on Hindustani music. Its author, Gurudev Patwardhan, was Vice Principal of V.D. Paluskar's first music school in Lahore from its inception in 1901 to 1908. Professor James Kippen provides the first translation of this immensely important text and examines its startling implications for rhythmic and metric theory. It is the earliest work on Indian drumming to contain a notation sufficiently precise to allow definitive reconstruction. The compositions are of considerable musical interest, for they can be readily realized on the tabla or pakhavaj. Kippen sets the work and objectives of the original author in the context of a rich historical, social and political background. By also discussing radical differences in the second edition of 1938, published by Gurudev's nephew, the vocalist Vinayakrao Patwardhan, Kippen illuminates the process by which 'tabla theory' was being created in the early 20th century. Both Patwardhans were enthusiastic supporters of Paluskar's nationalist imperatives, and active participants in his drive to institutionalize music, codify and publish notations of it, and promote a modern, Hindu vision of India wherein its identity could once again be linked to a glorious golden age in distant antiquity.
Time in Indian Music is the first major study of rhythm, metre, and form in North Indian rag , or classical, music. Martin Clayton presents a theoretical model for the organization of time in this repertory, a model which is related explicitly to other spheres of Indian thought and culture as well as to current ideas on musical time in alternative repertoriesnullincluding that of Western music. This theoretical model is elucidated and illustrated with reference to many musical examples drawn from authentic recorded performances. These examples clarify key Indian musicological concepts such as tal (metre), lay (tempo or rhythm), and laykari (rhythmic variation). More generally, the volume addresses the implications of performance practice for the organization of rhythm and metre. Written in a clear and accessible style and illustrated with 102 music examples and diagrams, it will appeal to anyone interested in Indian aesthetic forms and the study of musical time.
The Ethnomusicology of Western Art Music by Laudan Nooshin Pdf
Since the late 1980s, the boundaries between the ‘musicologies’ have become increasingly blurred. Most notably, a growing number of musicologists have become interested in the ideas and methodologies of ethnomusicology, and in particular, in applying one of the central methodological tools of ethnomusicology – ethnography – to the study of Western ‘art’ music, a tradition which had previously been studied primarily through scores, recordings and other historical sources. Alongside this, since the 1970s a small number of ethnomusicologists have also written about Western art music, thus complicating the idea of ethnomusicology as the study of ‘other’ music. Indeed, there has been a growth in this area of scholarship in recent years. Approaching western art music through the perspectives of ethnomusicology can offer new and enriching insights to the study of this musical tradition, as shown in the writings presented in this book. The current volume is the first collection of essays on this topic and includes work by authors from a range of musicological and ethnomusicological backgrounds, exploring a variety of issues including music in orchestral outreach programmes, new audiences for classical music concerts, music and conflict transformation, ethnographic study of the rehearsal process, and the politics of a high-profile music festival. This book was originally published as a special issue of Ethnomusicology Forum.
Tabla, for Advanced Students by Sadanand Naimpalli Pdf
As Pandit Shiv Kumar Sharma Says In His Foreword In The Book, In This Books Detailed System Of Playing- Peshkaar, Kaida, Tihai, Rela, Gat, Paran And Other Elements Of Different Gharanas Of Tabla Playing. Besides That There Are Also Some Very Rare Taals With All The Material Of Playing Solo Tabla. With Dedication, Hard Research Work And Commitment Behind This Effort Makes This Book Very Useful Reference Book For The Students Of Tabla And Musicians In General And This Book Will Surely Find A Place In All The Best Institutes Of India And Abroad.It Will Also Guide Tabla Players Who Are Looking For Traditional Authentic Knowledge Of Tabla Playing. Author Sadanand Naimpalli, Himself One Of The Finest Maestros In The Country Today, Takes Up The Challenge In Theory And Practice Of Tabla For Advanced Students Of Tabla. His Book Will Make A Student Appreciate Fully The Language Of One Of The Most Versatile Percussion Instruments In The World Its Grammar, Aesthetics, Its Powerful Idioms And The Sheer Poetry And Sophistication When Handled By A Competent Player.
