This Is An Indispensable And Enriching Reference Work For The Connoisseur, Practising Musician, Interested Amateur, Impresario Teacher And Student.

This Is An Indispensable And Enriching Reference Work For The Connoisseur, Practising Musician, Interested Amateur, Impresario Teacher And Student.

This is a completely revised and updated edition of The [Oxford] Illustrated Companion to South Indian Classical Music, which includes the latest available information on the subject. Acclaimed as the most authoritative reference work on South Indian classical music, the Companion:* provides an overview of the historical and cultural contexts of the music, its instruments, composers, leading practitioners, and schools* contains more than 120 line drawings and photographs of all the instruments discussed, as well as of major composers; includes a special colour plates section* includes detailed biographical notes on musicians and composers* contains Guide to Pronunciation and Transliteration, Select bibliography and Further Reading, Glossary-cum-Index* includes Alphabetical Index of Ragas and Scales, Index of NamesAn indispensable and enriching reference work for the connoisseur, practicing musician, interested amateur, impresario, teacher, and student, the Companion will be of interest to anybody keen to learn about Indian culture.

This book looks at the life and music of Veena Dhanammal (1866–1938), considered the embodiment of ‘classicism’ in Karnatik music. It locates her art within the cultural, social and intellectual milieu she inhabited, allowing readers to track the changing musical landscape of southern India, as a process of urbanisation — beginning in the late nineteenth century — resulted in Karnatik music’s movement from a ritual and courtly location to a modern, secular form of entertainment in the city space.

A NEW ERA IN CLASSICAL MUSIC UNVEILED BY DR L. SUBRAMANIAM. Dr L. Subramaniam, who’s been called ‘arguably the greatest violinist in the history of Indian music’, is also one of the most formally inventive musicians of our time. A polymorphous talent, he is not bound by genres or geographies nor fear of the untried and uncharted. It is in this spirit that, as a young student, Dr Subramaniam set about creating a system that would integrate the melodic nature of the Indian raga system with the harmonic structure of Western classical music. What those early years of study—tried and tested over the decades—led to was the possibility of orchestral compositions for Indian ragas, evoking their mood within the rich sound of symphony orchestras. Raga Harmony unveils Dr Subramaniam’s revolutionary thirty-six-scale concept that will allow compositions by Indian composers based on Indian ragas to be performed by some of the most prestigious orchestras across the globe. The use of this system enables the generation of lush harmonies that are not only uncommon and pleasing, but also intricate and intellectually intriguing.

The essays in New Mansions for Music: Performance, Pedagogy and Criticism look at one of the most ancient and rigorous classical musical traditions of India, the Karnatik music system, and the kind of changes it underwent once it was relocated from traditional spaces of temples and salons to the public domain. Nineteenth-century Madras led the way in the transformation that Karnatik music underwent as it encountered the forces of modernization and standardization. This study also contributes to our understanding of the experience of modernity in India through the prism of music. The role of Madras city as patron and custodian of the performing arts, especially classical music offers an invaluable perspective on the larger processes of modernization in India. As the title suggests, the areas of classical music, which were most influenced by these developments were pedagogy or modes of musical transmission, performance conventions and criticism or music appreciation. Once the urban elite demanded the widening of the teaching of classical music, traditional modes of music instruction underwent a major change involving a breakdown of the gurushishya parampara or the tradition wherein the teacher imparted knowledge to a chosen few. Caste and kinship were important determining factors for the selection of these shishyas or students, but in modern institutions like the universities these boundaries had to be demolished. Simultaneously, the public staging of music brought the performer into a new relationship with his audience, especially as the art form became subject to validation and criticism by the newly emerging music critic. In an immensely readable book peppered with anecdotes and conversations with leading musicians and critics of the day, as well as humorous visual representations, part caricature, part satirical, the author describes a rapidly changing society and its new look in early twentieth century Madras.

The Other Classical Musics will help both students and general readers to appreciate musical traditions mostly unfamiliar to them.

The Drumming of the Gods offers an easily understandable, clearly structured introduction to the world of South Indian rhythms. Step by step, you’ll learn how to distill ancient knowledge, skills, and principles of order from this inexhaustible rhythmic system, which can be useful, inspiring, and perhaps even groundbreaking for you – even if you primarily operate outside the Indian tradition. The book is suitable for anyone who: wants to train and sharpen their sense of rhythm is looking for inspiration for their own playing or compositions wants to learn and understand the Indian drum syllable language Solkattu from the ground up wants to combine Indian and Western elements in their playing or compositions has always wanted to know what Talas, Gathis, Moras, Korvais are wants to confidently master odd time signatures, quintuplets, septuplets, and nonuplets 260 etudes and exercises for speaking and playing, clearly organized from very simple to very difficult, guide you step by step to a confident sense of rhythm.

This book is divided into two main parts: ‘The Tanbûr Tradition’ discusses the origin, history, construction and playing techniques of tanbûrs; ‘The Tanbûr Family’ focusses on long-necked lutes as a family of musical instruments. After a short introduction, the construction, playing technique, and musical traditions are discussed.

First published in 2000. Routledge is an imprint of Taylor & Francis, an informa company.